framework_189

framework_189

status
developed

Modular system of layering- like Kaleido. Taking a bandwidth of nodes, and filling them up.

  • Expanding the scope of the tonality with every new layer.

Destructive interference- like in Resolution.

The system of temperament and Mathematics- going from fundamental to up a fifth- never actually goes to a perfect octave

Non-linear approach to composition, but rather vertical. Different from progressive metal. The previous layer becomes part of the norm. Traveling without moving.

The concept of self emergence in music- self emerging melodies through layering of otherwsie.

The idea of harmonics and it’s fundamentals.

Usurp - how a new layer can literally take over control of the tonality and direction, such a way that it nullifies the previous layer.

The idea that you let the listener fill in the music composition with his mind as he’s listening, like if you have a note that you want to imply that is being carried over, but you remove it, but the listener consciously still fills it in.

Same way with if the listener or composer wishes a note or a track was louder/sodter or in a different place - the composer executed it purposefully so you would wish it to be different - its actually part of the experience of listening to music. Ive noticed that with myself - whenever I yearn for a section to be longer or something to be louder, that actually makes me listen to the track again or adds a dimension to the track that personal to me. If a track did eacgtly what I wanted it to do, then it may lose its luster. B

Process of taking the exact same riff and displacing it WHILE layering the same exact riff on top of its self while - see “self emergence”

Phasing things in and out

Dissecting pieces of the song to make that the new layer.

How artifacts/imperfections are amazing -like meshuggah clockworks, that maj3rd

How imperfections are what lead to emerging properties- how you u

How restrictions are what you need to make creativity do anything

How you need repetition.

How you maintain a certain motif in an upper structure, and then change the lower structure harmony (bass), hereby changing the feel and quality of the upper structure.

In this way the future can affect the past, because initially you thought the chord was the one chord, but then the second chord comes in, making the first chord actually not the tonic chord.

Self emergencent properties of music:

  • pick one motif
  • then you introduce a second element

Not only have you now have the first and second element, but you now also have the difference between the two elements. This difference, or the interaction of the two, has now emerged as. Self emerging melodies.

The same way prime numbers are self emerging in any created fields of mathematics.

How to turn things into -non things via constant repetition, such that it becomes the norm, such that when you TAKE IT AWAY, it has a bigger compositional effect than if you had kept it on, or a small change is a big thing. -catch 33?  Its as if the norm serves as silence itself, which begs the question - is silence really silence? Or is it perhaps a sound we are so used to hearing that its become nullified? What if everything is playing all at once all the time? And that you couldn’t tell because you were hearing all the time. So another word for silence is simply normative context. There may be no such thing as “t rue” silence”, the same way there may be no such thing as true nonethingless. Relating to the idea of nonethingness. There perhaps may be no such thing as nothing, os nothing implies something.

Shepards tone.

  • bouncey/slowfield : the idea of free time with implied time, also the click.
  • music as a lens in which you at the world through. And perhaps people too, When you look at someone else when you listen to a beautiful piece of music that moves you, you feel this sense of love and unity for another person.

Chord progressions that occur transcendent to the bar structure/ like in a drop of dark (dark eye), and not only that, but also how there are gaps- the idea that the listener fills it in with his mind

  • visualizing the shape/contour of a given motif, and composing based on that. How chord progressions, motifs, etc. can extend a shape or contour from 4 bars to 8 bars, hereby changing the feel, same with going from 4 bars to 2 bars

Theres a constant interaction between the song and the listener, dictated by the landscape in which both the listener and the song is in, both interior and exterior landscape.

The idea of energy levels- musically: to be successful you have to raise the energy level from what it is now to something new. Existentially: that is one of the bedrocks of being, the idea of upping yourself/things around you up an energy level- just like electrons go up energy levels. This is a transcendent idea that is true for all worlds and conditions of being.

Talk about your experience with listening to song versions without certain parts (famous last words - guitar only, without guitar or bass, the kill, etc). Theres a certain existential quality to it. Those versions are enjoyable because of the content in which they reside - how after hearing the full song, you love hearing these other versions, and then you also gain a deeper understand of the full song. Also, this ties into the process of composition - how sometimes I want to release two vewrsionsof a song (with and without melody foe example) or how this part only sounds good BBECAUSE I’ve heard it without it, but if I were to forget how I would have heard without it, then it actually wouldn’t be as spectacular, that is to say, the end listener or fan wouldn’t know my experience of the song the same way they would. Talk about thus how a composer and listener are always at

Is music subjective? Or are we all in the pursuit for perfection? Of what we think is the ideal form of music? Sort of like a debate. Debates in consciousness.

The idea of reverb and space change, or of a sudden dropping of a spacey atmosphere - gives you the feeling - was that ever real? Like a feeling of waking up.

The idea that melody is what conventionally makes the song have an identity. What if its rhythm instead? Imagine a song with only 2-3 notes, like Hans zimmer.to compose something so minimally, and to have it sing with rhythm - Parkinson.

The idea of always keeping the tension going. No resolution.

The idea of changing the function of a section from something that’s supposed to cause anticipation towards a climax, but through meditative repetition, becomes something else entirely.

  • Sort of want people to wish that there was “drums” in this track or whatever else - want them to fill up the space with their mind.

The idea  of translating the essence of Metal into a song like Parkinson- like it’s a pattern of energy. how Metal isn’t just drums and distortion, but rather an energy and form of aggression, which you can express through ambient music too, or electronic.

The super lydian b9….the most existential sound.

  • I find myself more and more wanting to accept the first take..the first recording of things…and letting it be, instead of during thousands of takes to get it right. The idea of letting the imperfections be - the sacredness of a first time vs total control over perfection. - both are needed.

The best music is music that is self evident…needs no explanation as to why it exists.

  • the idea of stretching of shortening the bar/meter in order to accommodate something, feel. like adding a 16th note, but it still feels like 4.4 in a sense.