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Re: Trouble Thinking of Loops Beyond the Initial Loop
Cripes, man... you should be teaching at a university, making $70K a year.
Seriously. You're knowledge in this area is amazing. Next time anyone gets
chance to meet Rick in person, drag him to the nearest pub and table and
him to explain his theory of rhythm, human evolution, and how to break
time signatures down into intelligible chunks. It will be worth your
provide you haven't drink too many pints and you can still count. :)
----- Original Message -----
From: "RICK WALKER"
Subject: Re: Trouble Thinking of Loops Beyond the Initial Loop
> Jake asked:
> "I keep coming up with pretty good/interesting loops (guitar and drum
> backing) with my RC-50. But, I can't seem to develop a corresponding
> "verse" to the initial loop structure (following a somewhat standard
> structure).Any ideas to help the creative juices flowing from this
> esteemed group of musicians?"
> Human beings process information through their senses which,essentially,
> just process differences
> or changes in the environment. Our senses pick up contrast in light,
> color, sound, pressure, smell, etc.
> We are pattern oriented so making simple contrasting changes in the form
> of a pattern can lead to
> really effective musical sections of a tune.
> Much can be accomplished in composition and arrangement by looking at
> very simple
> form structures.
> As an example:
> From West African music we get the notion of CALL and RESPONCE
> try this technique with a song by:
> Play a measure A (CALL)
> Play a second measure that contrasts it either rhythymically,
> or timbrally B (RESPONSE)
> repeat A (CALL)
> Now play a variation of B, again, making the variation distinct
> rhythmically, harmonically or timbrally C (2nd RESPONSE)
> Now play with the structure of these three measures
> ABAC ABCB etc. or string them together and very
> their forms in groups of four to make a meta-form
> AAAB = a
> AAAC = b
> AABC = c
> now play abac...............abcb.........................you get
> sometimes you can merely rearrange the timbre or instrumentation of a
> piece of music to get interesting simple results:
> Have the rhythm of the bass guitar and the rhythm of the drums switch
> positions and take on each other's roles from
> section to section.
> Many, many electronic dance tunes ONLY switch timbres during their
> different sections; completely eschewing harmonic
> changes or key changes.
> Harmonically, try modulating up or down with a groove you are using
> create a new section
> or, Modally, base the next section by using one of the notes that
> isn't the tonic or 5th from the first section as
> the new 'tonic' of the next section but confine yourself to using only
> notes in the key of the first section.
> Keep playing this game until you come up with results you like.
> It's amazing how little you can vary from one section of a composition
> another as long as you self conciously
> create strong contrasts in any category of rhythm, harmony, timbre,
> dynamics or even density of note choices.
> Lastly, if you search these words BRIAN ENO OBLIQUE STRATEGIES at
> They'll lead you to a website that gives you the ability to print out a
> series of cards that you can
> print out called OBLIQUE STRATEGY CARDS. Invented by the amazing
> multi-media artist, producer, BRIAN ENO,
> their whole purpose is to stimulate creativity when you are on the horns
> of a dilemma or
> just not feeling like you are creating interesting choices. You
> the deck, pick a card and force yourself
> to do whatever the card does. This is a brilliant strategy for
> stimulating new creativity when you are stuck.
> Good luck and document what works for you.