Re: Composing with GOLDEN-MATRIX

Excuse me, but is this answer for you,
Bearskins Beefeaters Mystery Train ?
Because I lost the sender, so tell me...

a quaver is an eighth note?

Yes, it is.

I am a composer that also at times makes use of adlib parts, and slice
and dice methods.

That will be good to know in proper time and place. Adlib parts can
take advantage of Golden manipulations as you will see very soon. As a
a comment, although I don´t know your personal approach to adlib
composition, I saw in the work of a local composer colleague, when
performers -trained to play written notes with precisely rhythmic
notation- are confronted with "play any tone with any rhythm" (I´m
exaggerating a little bit with the use of ANY, nonetheless the composer
indications were extremely vague to the point of saying almost nothing
about the LIMITS for the performers in the particualr sections of music
I´m telling you about), they felt under-appreciated their abilities as
persons who can play interesting and/or difficult quantities of notes-.
So they didn´t show much interest. And the ears will detect, no matter
how witty or interesting the composition is in itself that in those
adlib parts with very few limits prescribed for the performers,
intelligence is lacking, is absent. But there are other intelligent and
challenging ways, for the performers, to confront adlib composition. So
they gain interest to play it and for the composer the result is
better. But there´s no doubt that chance methods gave musical
composition a new whole universe of sound and structure. Anyway, sorry
for this, not so brief, comment.
Let´s see your interesting homework.

Homework:
Write three (minimum) different FM, send them to me and keep them in
your notebook.
FM:(13,21,34,5,3,2,1) E-C
FM:(5,3,2,5,8,13) C-E
FM: (3,2,1,2,3,5) C-E

Well done.

You made one example with E-C and the others with C-E.

All 3 examples are divided in two parts...

....the first one into two inequal number of terms, 3 + 4 = 7 terms,
and the others with equal number of terms, 3 + 3 = 6 terms.


RU=quaver
RFM:(13quaver,21quaver,34quaver,5quaver,3quaver,
2quaver,1quaver)

RU=Quarter
RFM:(5quarter,3quarter,2quarter,5quarter,8quarter,
13quarter).

RU=quaver
RFM;(3quaver,2quaver,1quaver,2quaver,3quaver,5quaver)

When giving RU to them you notice that the first example have two parts
(3 terms + 4 terms) in dramatically opposite durations.

I mean, compare 34 quavers against 1 quaver. That´s not absolutely
bad. I´m just stating the obvious, which is good to point at. Detail
care.

The other examples have more homogeneous durational statements.

Especially the third one in which the 1 quaver seems to be both as a
common term of the first and second parts (last term of the first part
and first term of the second part).

These are analysis, simple ones, to provide full understanding of these
conditions in order to take full advantage of them in later stages of
development.

As now you got durations, we can think in simple ways to make them to
sound.

HOMEWORK:
As an exercise of creative thinking, consider your 3 examples and give
them a simple source of sound (for each of them) and your opinion on
that possible result.

Of course if your creative thinking goes far away from "simple"
sources of sound, go on with them.

Just apply your intuition to these very simple initial results.

So, the seeds of composition begin to feel the rain.

RFM: 2D
Line 1: RU=quaver 5,3,2,5,8,13 C-E
Line 2: RU=Quarter 3,2,1,2,3,5 C-E

RFM 2D:
(5quaver,3quarter,3quaver,2quarter,2quaver,1quarter,5quaver,2quarter,8quaver,3quarter,13quaver,5quarter)

Here you wrote only 1 example. It will be better to have 2 more
examples on 2-Dimensional writing.

But, let´s see this one. It is well done. Both Lines are homogeneous
in duration statements. That´s not good or bad, just it is.

So, now a second chance to apply your creative thinking in...

HOMEWORK:

If you have some sources of sound, which you must define, how will you
mix with that RFM 2-D you wrote? One thing must be clear: the
Dimensions must remain perceptible to the ears. I mean, after applying
your sources of sound to your RFM 2-D, any listener must understand,
maybe after repeated hearings, "oh, there are two dimensions here".
How will you get that situation?

In the next communication we will talk about Golden Subdivisions in
order to get micro-rhythms. So, for now you can consider your RFM 2-D
as a Macro-rhythmic plan.



Homework: Please determine the kind of Respiration your FM written
before have.
C-C-E-C-E

That´s not clear...ummm... But I saw you understood this concept,
Contraction-Expansion. It will be very useful when the Golden-Matrix
becomes multidimensional. The dimensions will play a counterpoint of
expansions-contractions.

I believe you became conscious of this process of respiration; actually
the best english word is BREATHING. So, processes of
expansion-contraction are best understood in our breathing experience.
And, as natural feature of nature itself, the application of that
process in composition will reflect a universal natural law. What do
you think?

Hal.

P.S.: I wait for your homework before moving to the next stage. Good
luck and good inspiration!

.

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