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Composing with tELHARMONIC: Voltage-Controlled Music Theory

Recall from the previous section that the left side of the module allows for patch programming chord 

progressions, scales, and melodies. It consists of the TONIC, INTERVAL, DEGREE, and D-GATE parameters and 

the visual indication of the Color Staff.

TONIC

This parameter is similar to the Pitch control on a VCO, it responds continuously to a 1V/ Octave signal 

across 6 octaves. TONIC will control all voices of the tELHARMONIC. This input is of course useful for 

patching typical modular sequencing techniques, micro-tunings and modulations but it is also highly useful 

for transposing progressions and melodies that are patch programmed using the DEGREE parameter (see 

below). To achieve sequences or transpositions that are “in tune” you will either tune these TONIC changes 

by ear or utilize a Quantized CV source, such as the QCV output from René. 

The Tonic parameter sets the base frequency for the Interval and Degree parameters. In other words, the 

Tonic sets the "key". Here is how a portion of the Tonic control looks swept clockwise with Interval set to 

Root Triad and Degree set to a Major Triad. Note the Tonic control is continuous, thus the glissando 

markings. Also, note that the sonority of the triad (Major in this example) does not change as it moves:

DEGREE,  D-GATE,  AND GATE OUT

These parameters do not compare to any of the inputs and outputs typically found on a VCO module. 

DEGREE is a quantized control that allows for ease in patch programming chord progressions and melodies 

using just about any control voltage. It makes note selection relative to the pitch set by TONIC and 

determines sonority of the TRIAD where applicable. DEGREE will control all Voices and Algorithms of the 

tELHARMONIC and because it is a quantized parameter, any control voltage will result in a valid equal 

temperament progression.

When INTERVAL is set to Unison, Fifth, Octave or any of their in-between spaces, DEGREE has twelve 

possible values per octave, corresponding to the chromatic scale. When INTERVAL is set to TRIAD or a triad 

inversion, DEGREE has seven possible values per octave, corresponding to the degrees of the diatonic scale: 

I      ii      iii      IV      V     vi    vii

The pitch of “I”, and therefore the chosen “key,” is set by the TONIC parameter. Depending on the setting of 

the DEGREE panel control, diatonic chord progressions can be easily be programmed in any mode 

(including the Major and minor scales), with transposition/key change provided by TONIC. 

o

Tonic

Summary of Contents for Soundhack tELHARMONIC

Page 1: ...v 2 2...

Page 2: ...ate the equipment This equipment has been tested and found to comply with the limits for a Class A digital device pursuant to part 15 of the FCC Rules These limits are designed to provide reasonable p...

Page 3: ...anty period any defective products will be repaired or replaced at the option of Make Noise on a return to Make Noise basis with the customer paying the transit cost to Make Noise Please contact techn...

Page 4: ...synthesizer system case Go to http www makenoisemusic com systems shtml for examples of Eurorack Systems and Cases To install find 14HP in your Eurorack synthesizer case confirm proper installation o...

Page 5: ...al Telharmonium Noise synthesis inspired by James Tenney s 1961 early computer music piece Analog 1 Noise Study Phase Modulation synthesis inspired by early commercial digital synthesis from the 1980...

Page 6: ...ignal 5 H OUT output for the three Voices of the Harmonic Algorithm Core frequency is set by TONIC and DEGREE The pitch spacing harmonic relationship of the three voices to one another is set by INTER...

Page 7: ...VAL Range 0V to 5V 12 COLOR STAFF Toward the center of the tELHARMONIC there is a visual indicator that will change color to display the state of INTERVAL and DEGREE while pulsing to show the frequenc...

Page 8: ...for CENTROID Range 0V to 8V 20 H LOCK Button LED with FLUX greater than 10 sets the Harmonic selected by CENTROID parameter to be locked ON Multiple Harmonics may be locked ON LED brightness indicates...

Page 9: ...TONIC and DEGREE H OUT At 0V FLUX Fully CCW all Harmonics are equally emphasized Increasing FLUX de emphasizes all Harmonics surrounding the CENTROID with the exception of those that are currently loc...

Page 10: ...has all three voices set to the same note for behavior typical of a VCO Degree adds or subtract up to two octaves from the base frequency set by Tonic It has a Quantized response and also tracks 1v O...

Page 11: ...is flat and sweeping the CENTROID will ripple the spectrum like a string harmonic When FLUX is increased the harmonics surrounding the CENTROID decrease in amplitude and the sound becomes more focused...

Page 12: ...M Index BLEnDING The Noise Harmonic and Phase Mod voices were designed for fantastic spectral combination The simplest way to do this is using a mixer However it is highly useful to have each output p...

Page 13: ...IC often this frequency is high enough that the eye will not be able to discern Warning Color Staff is for entertainment purposes only First Inversion Triad Major Turquoise minor Sky Blue diminished O...

Page 14: ...Triad Note the Tonic control is continuous thus the glissando markings Also note that the sonority of the triad Major in this example does not change as it moves DEGREE D GATE AND GATE OUT These para...

Page 15: ...l patched to D GATE to be narrow you could grab single notes or chords from a control voltage By setting the width of the Gate signal patched to D GATE to be wider you could pick off clusters of notes...

Page 16: ...e Degree panel control to choose a mode For Ionian Major and Aeolian minor use the RGB LED to find the starting point Aeolian is a Blue or Periwinkle Triad that will be found one click to the left of...

Page 17: ...VCO s such as STO or DPO 1V Octave Input and tune the STO or DPO to one octave below the TONIC of tELHARMONIC Set Ren Q Page for Octaves only Blend the analog VCO with H and P OUTS using OPTOMIX s AUX...

Page 18: ...e in the four harmonics of the selected Ren row Each new press will clear the locked Harmonics and write the new ones Variation 1 Use a slow clock instead of Pressure Points gate and Mult it to Y CLK...

Page 19: ...EE Panel Control to 3 o clock should produce a Descending Run Variations 1 Set CH 1 Attenuvertor to 1 o clock for alternating run 2 Patch a sequence that is synchronized to MATHS EOR to tELHARMONIC TO...

Page 20: ...cycle Variations 1 This variation adds the wooshing of wind to the ringing of the chimes Patch H Out to Optomix Ch 1 Signal INput Patch N Out to Optomix Ch 2 Signal INput Mult MATHS Unity to Optomix...

Page 21: ...te Output in order to change patterns automatically Patch Example Chordal Accompaniment Variations Thanks Walker Farrell Adjust the telHARMONIC s Tonic Panel Control until it sounds in tune with the D...

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