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I began the *specifications* of a new piece of music a few days ago and it crept into my dreams during the subsequent nights. Out of these somnambulant encounters came a clear structure. This one will be under four minutes, I promise, dear Demi-God of musical composition who forms a dome over me of inquiet, resonant, conscious chambers.
As I have been wont to do since my distant past, out from my hara sprang a sort of chord progression. Initially, it was simple, but then morphed. I am considering now to let that *morph* happen during the process of the piece. I don't want to actually play the chord progression deliberately, but let it be subtly pronounced by a snaking, fractured, mostly continuous guitar figure. It will be a semi-arpeggiated line with plenty of *passing* tones to confuse the listener. Inspiring the bass, rumbling underneath, will be **Sunn o)))**, lengthy and droning, cut apart by quick, syncopated runs at fashionable intervals. There is nothing fashionable about this music. I correct myself. Bass, rumbling beneath, and inspired by **Sunn o)))**, in lengthy and droning phrases, will be punctuated by syncopated runs at arbitrary intervals.
I'll ditch the mellotron for this one. In its place, I'll remind any creature tied to a plinth and forced to listen to the album at an intolerable volume that the synth echoes ideas from *The Six*, though only distantly. The square wave pulse will beat an insistent 1 - 2 - 3
employed by Christian Vander from time to time (listen to Hhaï when you get a break from your toilet training, ingrade).
As for percussion, I am going to start with its part. Again, this echoes my *compositional* (I laughingly use the word) methods of old, programming my now deceased drum machine, *Marcus*, to the structure of an upcoming *piece* (I laughingly use the word) of musical regurgitation. To note, however, is that *Tidal Cycles* is not a mere drum machine, but a form of programming patterns in real time. I have to inject aleatoric means in some manner and morphing patterns on the fly is as good a way as lynching your brother's wife with a length of piano wire, to keep things *musical* (I laughingly use the word). I plan the patterns to overlap the flat four count and the triplety bounce in certain situations, but primarily concentrate on one or the other.
I **STARE** back at the second paragraph of the **Martenblog** entry. Join me on your mandolin, ukulele, autoharp or goat bladder as I cycle a progression twice or thrice.
F F/b5 Cmaj7 Csus2 F# Bm7/11 Asus4 E7/bb
As I played with the sequence the other day, I thought it might be wise to destroy some of the tonality by creating the following:
Fmaj7/b5 Cmaj7/9 F#sus4 Gadd9 Bm/G Aaug/#9
As an **INTERJECTION** between phrases in the piece, I shall opt for these two chords: [f c f# b] and [a bb f c] chugged on the ukulele, perhaps with reverb enough to send them to the absolute backdrop of the sound stage. An air of obscurity will encroach from the ill-lit depths. The growling bass will paint the heavens.
@flavigula@sonomu.club
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