This is one of the most interesting compositional approaches that I use all the time.
Although this is only a small part of what it says as a whole, the rest includes the idea that chance events and musical accidents left in a studio recording, all things that a composer did not intend, take on additional meaning. when they are heard over and over again. again on tape or CD.
Without the opportunity or sense of need that one should record or edit accidents, recordings of jazz, jam rock, and other forms of improvised music can achieve a heightened sense of aesthetics unparalleled in other musical genres. This is especially true in music, where getting the perfect shot is the most important thing during the recording process.
On the contrary, sometimes it is fortuitous events or musical accidents that become the reason why the public listens, falls in love with a recording and listens to it again and again.
Similarly, outside of the studio setting, live performance can present the same opportunity for an artist to experiment with one of their compositions, add or expand an improvised section, thereby differentiating performance from recording, or perform with a passion,exaggerated, of its norm and that everything is reflected in a recording of the live performance.
With live performance, you have many other elements that make it a unique experience because live recording will often reflect how good the artist / songwriter really is, measure audience enthusiasm, and highlight the artist's personality and level. of emotion in that specific presentation.
This is why I love live performance recordings so much for all the reasons I mentioned above. Now when it comes to the way I incorporate this practice of capturing or creating a casual event or musical accident, sometimes I like to start pieces from an improvised short piece of music.
For example, I'll riff a single melodic guitar short that comes to my mind, or I'll take an electronic drum pattern treated with an effect or a combination of two or more effects and record it.
Depending on how excited I am to work on what I started with, I will continue to work on other parts and build an entire piece around this original musical concept. All improvised and all immediate.
I don't have the trouble or delay setting up and scheduling workouts to get it right, looking for other musicians to play extra parts, or paying heaps of money to hire. a whole staff to take me from the conceptual stages to the finished product. And what do I get musically?
I get all kinds of finished songs and songs of different quality levels. Whether that quality consists of high or low recording, compositional or vocal quality, it encompasses a wide range. But overall, I am more successful than I am not getting a good result.
Why am I doing this? Because I work almost exclusively just making music as a hobby, I test my ability to work on-site and out of my head by improvising on my own recordings.
When I make a mistake, I usually don't edit or record about it unless it's absolutely ghastly. But if it's small or even unusually nice, I'll drop it because it has something special that I could never have deliberately planned or created otherwise.
So simply put, the improvisational nature of my music is effectively to improvise from the beginning, record the original concept, and then soon after or much later add tracks in a new unit of time. Every time I add a new track, I work as if the piece is new to me and give my full attention to the new item I'm adding.
So every part that I add becomes the only part that I'm contributing to, at least that's the game I play in my head, and I work that way until I have to mix and master the piece to completion.
Marc Avante is a musician, sound designer and blogger. He is also the founder of the musical project called Stereo Thesis. Stereo Thesis is a prototype sound and music design studio.
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