Skip to main content

Breakbeat Science 1

Some weeks ago a friend of mine tipped me about Venetian Snares (thanks Jason). I have always loved drum'n'bass, especially when the artist doesn't fall into formulas but has his breaks evolve constantly. Venetian Snares is an anomaly of an musician; not only are his breaks totally crazed, but he pretty much only writes music in 7/8 meter, which sets him apart of most electronica artists, slave to an exclusively binary conception of rhythm.

I have been checking his discography and there are quite a few gems there. Last night I was a bit insomniac so I decided to program a generative system that generates a constantly changing stream of beats. I toyed around with some melodic / harmonic elements too, and the result was quite encouraging for only a few programming hours. Next step is to explore the constant change of meter, something dance music is pretty much alien to.

This is the improvised, 9 min. session:



This is only the beginning, more to come soon.
Labels:

Comments

Post a Comment

Popular posts from this blog

Raga Modal Harmony - Example

Example 1: Vasuchakra Raga modal harmony is an attempt to extend Berklee's modal harmony concepts to South Indian music scales (ragas, or melas). The Berklee method deals exclusively with the Greek modes, assigning to each one of them a characteristic pitch (CP). This characteristic pitch is one of the forming pitches of the tritone, and it gives the characteristic sound to each mode. All possible tertian and quartal chords formed on each of the pitches of the mode are evaluated in terms of their stability and whether they contain the characteristic pitch. Some people have tried to extend this to other scales ( see here ). My approach is an attempt to exhaustively examine all possible modes included in the melakarta scheme . Now, the tricky part: what is the characteristic pitch in scales that can potentially contain up to 3 tritones? This is where I had to make a personal, and probably temporal, concession. I just called characteristic pitches all pitches other than the tonic ...
1 comment
Read more

Sørindisk musikkteori

Rytmiske basiskonsepter Tala (metrisk sykkel): Suladi, Shadanga, Shoshadanga, Dhruva Rupaka og Chapu-systemer. Gati konsept: bruk av alle pulsfordelinger: tisra (3), chatusra (4), khanda (5), misra (7), sankirna (9), 11, 13... Jathikonsept: pulsgruppering (aksenter). Anuloma pratiloma. Konnakol: Rytmisk hørelære. Essensielt for å synge rytmer (ta ka di mi ta di gi na tom...). Polyrytmer / polypulser Gati / jathi forhold. Gati fraser. Gati bhedam: Når gati ≠ jathi. Polyrytmer. Jathi bhedam: konstante synkoperte rytmer.   Nadai bhedam ( nested tuplets). Uregelmessige grupperinger og variasjonsformler Anuloma pratiloma kombinasjoner ( tuplets med varierende lengde = "svevende tempoeffekt"). Yati fraser: Motivisk utvikling med aritmetiske progresjoner. Sama, gopucha, srotovaha, mridangam, damaru, vishama-fraser. Yati prastara (kombinasjon av forskjellige, sammenflettede yatifraser). Tirmanas. Mixed jathi nadai bhedam. Systematisk gati med varierende jathi. Systematisk gati...
Post a Comment
Read more