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...
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.
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!