I find that making drastic structural changes in the middle of a breakneck song can be difficult to pull of convincingly. What constitutes convincing is subjective, but imo the structural shift should emerge almost inevitably from the preceeding part.
An example would be James Blake Maybes or any of Misel Quitno's stuff. In these examples the producer creates a polyrhythmic texture with melodic fragments which suddenly turns into something else entirely. The new material feels as if it was there all along.
Do you guys know of any great examples of this?
Structural morphs
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- KVRist
- Topic Starter
- 298 posts since 9 Feb, 2015
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- Banned
- 12368 posts since 30 Apr, 2002 from i might peeramid
for a change in perspective, let's swap "convingingly" for "fluidly", reason being to take the focus off of conjectured perception and back onto firsthand experience.
"that kinda stuff" is easy to do when you see how it fits together, and hard if you don't... in fact, we could say, that that's why it's done.. it's a musical stunt..
from the outside, it might look like "let's take a platypus, and glue the front end to a cadillac"
but from the inside, it all fits together already. the chords may change, the key may change, the tempo may change, but there is at least some linear cohesion n the transition...
and that coherence may only be as tenuous as "because they're two parts of the same person's story" - something that may have 0% musically quantifiable criteria...
i'm saying, you probably won't get good at it by gluing two different things together a lot, but you could get good at it by keep practicing what you already know... instead of trying to be two animals, be one animal that gets so fast at kung fu that people aren't really sure how many animals they're seeing at once.
my 'evolution' of composition began with grooves, being able to augment a groove with a new harmonic part, then rhythm.. try imagining the same phrase, but with a different beat/sequence. after doing that, the brain can experiment with moving the more familiar, wieldy blocks around.
maybe thirty million years in the future, someone who could just cook a groove can now cook grooves that constantly morph into a million other grooves, and perhaps their focus is on limiting the flow of ideas enough to extract a "perceptibly solid to others idea". but changes are they'll give up music and think about their mortgage before that happens.
"that kinda stuff" is easy to do when you see how it fits together, and hard if you don't... in fact, we could say, that that's why it's done.. it's a musical stunt..
from the outside, it might look like "let's take a platypus, and glue the front end to a cadillac"
but from the inside, it all fits together already. the chords may change, the key may change, the tempo may change, but there is at least some linear cohesion n the transition...
and that coherence may only be as tenuous as "because they're two parts of the same person's story" - something that may have 0% musically quantifiable criteria...
i'm saying, you probably won't get good at it by gluing two different things together a lot, but you could get good at it by keep practicing what you already know... instead of trying to be two animals, be one animal that gets so fast at kung fu that people aren't really sure how many animals they're seeing at once.
my 'evolution' of composition began with grooves, being able to augment a groove with a new harmonic part, then rhythm.. try imagining the same phrase, but with a different beat/sequence. after doing that, the brain can experiment with moving the more familiar, wieldy blocks around.
maybe thirty million years in the future, someone who could just cook a groove can now cook grooves that constantly morph into a million other grooves, and perhaps their focus is on limiting the flow of ideas enough to extract a "perceptibly solid to others idea". but changes are they'll give up music and think about their mortgage before that happens.
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
