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Topic: 2nd OPEN LECTURE: MUSIC DISSECTION?

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  1. #1

    Arrow 2nd OPEN LECTURE: MUSIC DISSECTION?

    This thread is a sample of what we can study using this method.

    My challenge is to make it useful for different level and style.

    The aim is to learn a little combinatory process, starting from the opposite action, the dissection of existing material. I start in this example with an intermediate level of analysis (not minimal neither macro) about rhythm and melody. The material is indeterminate, between classic and jazz, usable as atonal, or modal or nearly tonal. I use it to be focused on the process, not on the style, and let people understand the wide application.

    The English test is a rough draft, I hope my editor will help me soon writing it correctly...

  2. #2

    Lightbulb Re: 2nd OPEN LECTURE: MUSIC DISSECTION?

    STARTING POINT
    I select 3 little sample, that I found interesting or I created previously, and I try to understand what attract me, what is interesting.

    Es. 1

    http://www.webalice.it/gpoacademy/files/es1.mid

    In this phrase notes are not interesting at all. But the duration sequence is unusual and various. It seems moving free, and dissolve the basic accent.

    Es. 2

    http://www.webalice.it/gpoacademy/files/es2.mid

    In this phrase notes and duration are continuously repeating, but the accents and metric bars sequence is creating a dynamic impulse, attracting the attention.

  3. #3

    Lightbulb Re: 2nd OPEN LECTURE: MUSIC DISSECTION?

    Es. 3

    http://www.webalice.it/gpoacademy/files/es3.mid

    this sequence of notes is not yet finished because all value are the same, but the melodic interval sequence is interesting.

    Doesn't matter if I wrote the 3 phrases, or I extracted it from previous work, mine or read/found somewhere: it's a starting point.

  4. #4

    Re: 2nd OPEN LECTURE: MUSIC DISSECTION?

    BASIC ACTIONS

    I can try immediately the overlapping of the melodic sequence with the rhythmic scheme:

    Es. A

    http://www.webalice.it/gpoacademy/files/esA.mid

    es3 + es 1 =The melody inflate life in the rhythmic scheme, and it became a finished theme

    Es. B

    http://www.webalice.it/gpoacademy/files/esB.mid

    es3 +es 2 =The accent sequence transform the pitch sequence in a true phrase, conserving the rhythmic taste, but with some mismatch in note "function".

  5. #5

    Re: 2nd OPEN LECTURE: MUSIC DISSECTION?

    INTERMEDIATE ACTIONS

    The overlapping can go on, and create something less immediately linked to the original material:
    what happens if we overlap the metric and the accents of B, with the duration variability of A?
    To make it, we begin including some little modification and adaptation of the original, just to fit.

    Es.C


    http://www.webalice.it/gpoacademy/files/esC.mid

    Now to refine the accent perception and to give sense to the phrase, we can assign it to a solo expressive instrument (flute?) and play it over a rhythmic base (snare drums?)


    http://www.webalice.it/gpoacademy/fi... and snare.mp3


    ADVANCED ACTIONS

    The actual result is more or less like Dr. Frankistein work, a patchwork. A good patchwork maybe, but not enough original yet. (of course it's ok only if you are the author of the starting material)

    Now is time to make it personal and musically meaningful:
    the actual level is working only because it has an indeterminate style. If it's a tonal work, probably we need to change or substitute some note to make it coherent with the harmony we are building.

    The analysis shown 3 interesting elements: the variety of duration (es1), the accent variation and metric alternation (es2) the interval variation and alternation (es3). The mix of all elements produces the final C example. We can try other duration mix, other metric and accent distribution, and other intervals various and sequenced in the same way. Mixing all, we will produce another example, with the same musical richness, but totally new and original. The A and B phrases, with the right adjustment, are useful as secondary themes, directly related to the main theme because based on common material.

    The level of variation, that is the common key of interest of 1,2 and 3 starting samples, can be replicated with other elements, like harmony and instrumentation.

    IF YOU LIKE IT:
    do yourself advanced actions! This may be the homework!

  6. #6

    Smile Re: 2nd OPEN LECTURE: MUSIC DISSECTION?

    Fabio, we are missing images.
    Sincerely,
    Falcon1


    icelandphotoblog.com
    my cafepress store
    my fine art print store
    my music store

    Please support your fellow musician from Iceland where the currency has fallen 70% against USD and 90% against EURO! Every dollar or euro counts!


  7. #7

    Re: 2nd OPEN LECTURE: MUSIC DISSECTION?

    I moved from .jpg, very nice on the Mac, but not visible in Windows, to .GIF


    Now it seems to be visible in both Mac and PC op. sys.

    Let me know if it sounds better now...

  8. #8

    Re: 2nd OPEN LECTURE: MUSIC DISSECTION?

    Thanks Fabio.
    Under Windows, I can now see the images.
    Now I know what you're talking about!

  9. #9

    Re: 2nd OPEN LECTURE: MUSIC DISSECTION?

    This is really rather clever, Fabio.
    Jess Hendricks
    DMA Student and Teaching Asst in Music Theory/ Composition at the University of Miami
    Personal Website

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