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Sorry to be offtopic but does any of you know a method to get back into an instagram account?? I was dumb forgot the login password. I appreciate any tricks you can offer me!
@Trevor Ares Thanks for your reply. I got to the site through google and Im trying it out atm. I see it takes quite some time so I will reply here later when my account password hopefully is recovered.
You can change scales during a track, I keep my basslines the same and then you need to check out that your new scale works with that. Eg you could take a relative scale like CMajor has the same notes as E Phrygian, or a scale which works with similar notes, eg CMajor and GMajor share almost the same notes. For the later one check out the circle of fifths. The easiest it is when you have a flat bass or no bass like in a break.
What is your disciplining sense to not begin elaborating divergent perspectives of the pattern you have at 4.29 if such should be tempting? Think in the spirit of finding (more) interesting polyphonies, polymeters and counterpoint.
I did experiment a bit with e.g. polyrhythms, but I didn't get too warm with that yet. I feel I got more control the other way. I agree that this is getting a bit more boring, as it's quite predictable, my way is more to spice it up with e.g. glitching some parts of the melodies, and then replacing the original parts. Another way I like to alter the sequences a bit is to syncopate the repetitions, e.g. moving the X bar by 1/8 note e.g. I didn't check much of the music theory out behind counterpoint, it's basically that two melodies exist along, and build harmonies together, right e.g. one playing the lowest note of a chord and one a higher one, etc.? Btw. you have a favorite track you like that uses polymeters? Most of the stuff I listen to is quite four on the floor.
@@Psiger Right on, I am the opposite in that I focus the spice in the initial compos.-very nerdy in that respect, which has also led me to find music theory in some depth. Syncopation I have not used very much, but Imitation I do. Now Counterpoint has had different definitions throughout history, but the current idea involves two or more independent melodic lines (i.e pitch, rhythm, even scale/mode) that when playing simultaneously, creates harmony (polyphonic_imitation). What I find cool, is that this form contains dissonance on some level, and to manage this while also generating harmony=spicy stuff :) Not to mention, making something like this clear and understandable to the listener, is also a challenge. Goa & NitzhoGoa this is where you get the closest sense of what I am talking about.
