Harmony - the same process

As I did before, in Colours (in circle) and Colours (here in), I started to engaged with the harmony that will be the root of all the compositional process and result.

As a first stage, I started to play on the Piano and follow my intuition to discover what or which chords I wanted for this work. As always, I proposed to myself that the chord was a result of an harmonic series.

For the first chord, I wanted that my fundamental was B natural. So, all the notes of my first chord will be, also, partials of the harmonic series in B natural (image 1)

Image 1 - harmonic series in B natural (spectrum of my first chord)

I am considering in using microtonality in this piece. I believe my harmony can be reacher.

So, seated on the piano I started to play in the harmonic series (without microtonality - of course) and reach to my first chord (image 2)

Image 2 - chord 1 (partials 2, 9 - 8 down, 15 - 8 down, 10, 11 and 17)


However, I did an inversion of this chord, where I respect the order of the partials as they appear on the harmonic series, which are: 2, 9, 10, 11, 15 and 17 (image 3)

Image 4 - chord 1, respecting the order of the partials of the harmonic series

Following the idea of the inversion to the original partials, I played on the piano the chord and followed my intuition to understand which inversion, to my ear, I could use (image 5)

Image 5 - inversions of the first chord, played on the piano


But, nothing of these are microtonal, so I took this chord and its inversions and transformed  (image 6)

Image 6 - chord 1 and its inversions - microtonal