How to apply different voicings over a chord progression   Sometimes you have to spread the notes of a chord progression in a very specific way, specially in the case of sectional writing as in the big bands, for example, where specific voicings are used, commonly named as drop2, drop3, etc.   All the voicings are based in the initial closed position:   - DROP2 is obtained by dropping the 2nd voice an octave below, as shown below:     - DROP3 is

I've been studying HARMONIC-PATH and TONALITY-MAP functions to determine the exact similarities and differences between the two. While I understand the purpose of those functions in principle from reading the documentation and experimenting with different ideas, I wonder if - for educational purposes - someone could briefly highlight the main explicit differences between the two. In the short example below, both functions produce very similar results, so the question may be when to use one funct

Dear All,   Stephane did this amazing and clear example (code below) of how to spread an harmonic progression over a predefined texture. This can be altered to any harmonic idiom. I did some test, using a chorale texture originated from a 12-tone row and also  a more jazz-oriented chorale.   THE QUESTION IS (For Stephane Boussuge)   1) How the harmonic rhythm is controlled here? In the example, the chord changes every half note. 2) How can I make the