In my previous example of audio created with my gestural music sequencer, that I’m tentatively naming GMS, I presented a pattern of sampled Rhodes notes in a chromatic scale. One of the functions I’ve built into the application is the capability of switching scales. Currently the available scales are major, minor, pentatonic minor, and chromatic. Here’s an example of the application producing notes in a minor scale. One thing you may notice is the dynamic range. By gesturing lower within the Y axis the notes get quieter, while gesturing near the top of the screen makes notes that are louder.
GMS Minor Scale
A big thanks goes out to Jason Striegel and Nick Watts for inviting us to perform at 
I’m calling this one minute and twenty four second experiment Six Machines, simply because after applying the first round of processing and looping the phrase a vague melody in six / eight time is discernible. The first round of involved applying destructive processing in 
This chord is much more similar to an example of close harmony than the open voicings that I posted earlier. Close harmony is essentially the opposite of open harmony. The notes are often clustered together and might include minor seconds. This example could be written, once again, as a poly chord or by referencing the notes used. I tend to think of it as a poly chord because In the left hand I’m playing an incomplete B flat major seventh made up of B flat, F and A, followed by a C major triad in the right, starting with the G below the A in the left hand. This means my thumbs are crossed leaving me in a good position to play arpeggios around the C triad.
This chord is a good example of open harmony. Open harmony is simply the use of intervals that are widely dispersed to produce chord structures.