I am now trying to identify elements of fiction that equate to harmonic progression as well as possibly key and form (matching the series of canons). Number of bars is likely not a big concern as it comes out of the repeated harmonic progression, meaning, retaining the chord progression requires the number and sequence of bars because you cannot extend or shorten one or more chords without destroying the balance and flow, and Bach is all about balance.
(The Goldberg post was going on and on through numerous revisions and additions over many days so I opted to split it into two posts. I started thinking about this in early October and am keen on working my way to the point of being able to execute it for this year’s NaNoWriMo project.)
The harmonic progression is not unlike the 12 bar blues that is the basis of many jazz, blues, and early rock and roll songs. Or the 32 bar A-A-B-A form of I Got Rhythm by George Gershwin, which is the other classic jazz form and chord progression. Like these, the Goldberg progression is strong, complete, malleable, and capable of supporting many melodic inventions.
But it is also subtle. In most theme and variations forms the theme is the melody and I’m not sure the individual variations are capable of standing on their own or being listened to sporadically the way the Goldberg variations are. A bus stop or particular table in a coffee shop might offer the variety of stories but would not be as subtle.
And might time of day be similar to key? There are only twelve keys and if you progress in a sequence (semi-tone or fourth) through all the keys you end up back at the beginning, just as moving through twenty four hours will take you back to the same time of day. The ancients did believe that each key had its own personality but that was before the development of well tempered tuning.
Bach was a proponent of the well tempered tuning system, so I suspect the stasis of key is more a function of technical ease for the performer and ease of adjustment for a dozing patron, and maybe to eliminate any idea of hierarchy or relationship between the variations that might otherwise be implied or interpreted. I think Bach might have liked to use more than one key but unless he did exactly one, two, or three in each of twelve keys there is the risk of implying a relationship between the variations that I think he did not want. And since he had already done all twelve keys twice (the two books of The Well Tempered Clavier) there was no need to go there again.
So for fiction, finding the equivalent of the key is less important than making sure there are no implied hierarchies or relationships between the stories. And maybe use some staid element to help negate such.
So what are elements of fiction that I could reuse? Plot; no. Plot is like melody, too identifiable. Characters? No, because then the reader will look for connection and development. Setting? Maybe, though that’s more identifiable than harmonic progression, meaning obvious. Unless there is a means of disguising it the way Bach uses different meters and composition techniques and textures. Emotion? Again, too strong and too easily identified and connected. I could use the ‘theme’ of grief, for example, but it would be too easy to see how each story is related and collectively it might be perceived to be some wider statement about it. The same applies to a concept, say ‘inequality’.
But maybe that’s not bad. I’m no Bach; I’m no master at the peak of his creative abilities, and really, what I’m after is material. A couple NaNoWriMos ago I ended up with two short stories and a character which I may still develop into a novel, as well as the start of what turned out to be a 22,000 word novella.
So I could use location or a concept, but location would have to be flexible for multiple stories and styles, and something that promotes action, else I risk constantly having to struggle with dialogue heavy talking heads. A gym is too limited in its action, a playground too limited in its users. An event location like an arena which might have sports, concerts, ceremonies or trade shows would have the flexibility. A large city park with sports areas, kids play areas, picnic tables, hiking trails, ponds might have enough variety, but then most stories would have to be set outdoors. Of course, something larger like a city or even small town is almost limitless.
Concept is probably automatically more flexible than location, but it would need to be 1) a concept with sufficient facets to allow multiple approaches, and 2) a concept I’d be happy living with for 30 days straight.
Another step removed from emotion -> concept might be an object; say, a cup, so every story has in it somewhere a cup. But that might be too subtle and artificial. However, because it could be subtle, then perhaps I could *add* it as well; every story uses the concept, *plus* has a cup. The cup becomes the key, (G major/minor) and the concept substitutes for the harmonic progression.
And what about time of day? That’s fairly plastic as well; all sorts of things can happen at the same time of day, or, I could cycle through different hours of the day. Or I could keep the time of day and change time zones.
Cycling time of day is interesting in that Bach specifically did *not* change key, but, I have 24 hours to work with and he only had 12 keys, plus he’d done 12 keys before. 24 is close to 30, and I don’t have to write them sequentially, I could be flexible, label the general time of day and figure out the specifics later. Especially if they are to be presented in sequence. And I probably need more help than Bach anyway. Time of day might be the equivalent of the series of canons, the only thing that connects the series.
And time of day is flexible; I don’t have to decide what specific time of day for most, and I don’t have to label them even in my own mind until I’m well into it and decide that it’s going to work for me.
So, we have:
- and / or location,
- possibly time of day
Now, I need come up with potential concept, location, and object.