Root movement thoughts

Mostly to clarify my own thoughts-




Most of the music I have written is in a kind of pan-modality, sometimes having sections in distinct modes and other times modifying the "scale" as I go for melodic or harmonic purposes. I use various tetrachords or trichords in the step order to segue from one modal structure to another. This usually involves a shift in the root of the perceived tonal center.




Since a fifth is a fourth inverted, a third and a sixth, etc. it seems reasonable that the only root movements possible are within a tritone. So, I can shift a half or full step, a minor third, major third, or perfect fourth.




The fourth is basically my dominant function, so I try and steer clear of that one except when I am winding up a section that needs some sort of cadential close. It's also boring and predictable. A half step move upward (flat second degree) has an almost equally boring subdominant feel. The interval of a second is so overused in most pop music that I use it sparingly.




That pretty much leaves root movement by a major or minor third as the remaining points of interest. They are fairly easy to elide in and out of. Octatonic scales are the easiest, they have great 3rd relations (not the kind from Arkansas). I am using these methods again in the school band piece, where they seem like they would work well, but I am reminded why I made my last orchestral work my octatonic blow-out and then decided to try something else. My first new piece post-school needs to be something much more radical. I have an idea but I'm still turning it over in my head.