It's always the same thing... when you have tracks you need to finish, all these other ideas start popping up!
Here's a little thing I've been working on for a couple of days, just to get it out of my system. Needs a lot of Expression love and other tweaks, but compositionally done. Thoughts?
Just you are good is my only thought.
Also what Otto will say shortly...
It feels like an overture to something. I think it's the rapid key changes and the post-tonal chord progressions. The minor-to-major half step chord change (no idea how it's notated) in particular is something that I've always associated with worldbuilding, exploration, and the unknown in general.
Quote:Also what Otto will say shortly...
You are, most certainly, not human.
Your work in general seems to contain many small details that are like finely detailed icing on a cake. A few notes here, a little bit of percussion there really brings your music alive. I listen for those things.
Sounds like the beginning of your next album
It's compact but very evolving and linear with a lot of the aforementioned sense of turning one's thoughts to the unknown and to tasks ahead, so I agree that it's like an overture, and one with a bit of brooding and maybe sadness in it.
Thanks for your comments guys! I'm not quite sure what I'm going to use it for, it was basically just a random bout of inspiration. Listening to it today it sounds a bit dense in places so I might have to shift some stuff around a bit.
Very pretty! It totally sounds to me like the opening credits for a movie. Probably Lord of the Rings or something similar. Some of the dissonances in there have "elves" written all over them.
(03-16-2017, 09:23 PM)Otto Halmén Wrote: [ -> ]The minor-to-major half step chord change (no idea how it's notated) in particular is something that I've always associated with worldbuilding, exploration, and the unknown in general.
I honestly don't know the theory behind this thing either, I like to think of it as an ambiguous thing where you initially think it's in one key (E min) but then it moves a half step up to an F major and suddenly you're in F lydian which directly transports us into A minor. It's only in the second measure in the A min part that an actual key change happens, as the chord becomes A# major and we're in A# lydian/D minor. I like playing around with linear changes like that, and making use of notes that exist in two different scales to create ambiguity, but (as you can see) I lack the terminlology to describe it properly.
My dad uses the term
fritonal (≈ free tonal) to refer to music that sits somewhere between tonal and atonal. I have no idea what the correct term is in English, or if there even is one to begin with (Yes, I've tried Googling for it). The term comes up when we talk about music like that of Claude Debussy, where things like harmony and voice leading stem from classical music, but the chord progressions appear to move more or less fluidly between keys and modes. It feels like taking your old music and recontextualizing the familiar progressions and structures into something that feels more complex and nature-like. It's kind of like painting with muted colors.
If someone (*cough* Sam *cough) might know of some good resources on this, I'd love some pointers.
Yes, I've heard the term
fritonal as well, no idea what the Engslih equivalent might be. I've always loved the idea, both in and out of orchestral music. I blame progressive rock
