You will never understand music, foster. It's not that you don't try, but there's something missing in your normally connected neurons, that prevent it. With each new thread I see a guy seeking for something, without knowing what, but with the will to search for something different.

Music isn't different. It's versatile, yes, but wherever on the world you are, from the Buddhistic Monks over indigenous tribes at the River Amazon to chinese operas and mongolian overtone singing , you will always find the same patterns, the same structures and the same sense for rhythmic sequences. That's called music, everything else is known as noise.

Your example of "just layering" is symptomatic of your issue: People say the same thing about famous paintings, claiming they could just mix some colors on a canvas. They, and you, forgot that everything is intentional in art. There is no randomness, even if the art seems to be random. It was created from imagination of a mind with a purpose.

But you don't have a vision. You don't feel the urge to express yourself. You see music as a work, abstract and mathematical.

And if you quote something, you should have understood it. I'm not sure if Stravinsky really said this, but whoever said "Art is organized chaos", who do you think he meant to be the organizer? From Stravinsky I only know this quote, which comes close: "Music is given to us with the sole purpose of establishing an order in things, including, and particularly, the coordination between man and time."

Stravinsky also said "Lesser artists borrow, great artists steal." And: "In art, as in all things, one can only build on a firm foundation."

 

There is a difference between purely "experimental" music (as in musique concrète or some other quoi qu'il arrive setting) and composed music. A good deal of music labeled as "experimental" is, in fact, the product of composers who know what they're doing – know the "rules," but make new ones. For example, Scott Walker's latterday music is called "experimental," but he's quick to correct that, asserting that each note of it and its instrumentation are deliberate, leaving little to chance or improvisation. The instrumental music of Brian Eno (with whom we should all be familiar) is, on the other hand, the result of leaving inspiration to randomness or spontaneous decisions in the studio, ideas building upon themselves or leading to others - though imposing structure upon serendipity is a compositional activity. For many musical artists, compositional ideas often arise from experimentation. I myself sometimes do "music" which consists of sounds visually arranged in the timeline of the DAW; overall, these pieces are "composed," but they come from experimenting with the sounds themselves, and then with juxtaposing them. It's not only fun to do, it's challenging/rewarding listening afterward.

 

There are other experimental music productions that folow no rules. However your example has 4 segments representing the main theme which loops from 1:00 to 2:00 (roughly) and repeats 4 times until the last half (more abstract) starts. And that the main loop is comprised of an intro (single note loop) a call (2 small loops) and a response (another 2 small loops). Granted, there are no verse sections in JJ's production but I was expected 4 choruses on that picture of yours. Seriously, are you able to hear pitches properly?

 

Thanks guys for you attention. I love you.
Would you also please listen to this one? What is this? No specific form and structure:
https://clyp.it/ub0j4cwx

 

Last edited by a moderator: Dec 21, 2016

That's called "ambience" and its main use is a background noisefloor in games or films.

 

@tulamide
Please listen till the end. Just synthy sounds. Been made up of almost dissonant chords and melodies. Do you consider the dissonance as noise?

Anyway, I don't classify it inside any genre or overvalue it but as you'd hear you can not predict what would happen across time during your listening . Almost lacking any clear structure. It seems it's been made before the emerging of well-known electronic dance genres with their imposingly forced and intolerant structures.

 

You have this obsession with well-defined structures like is something bad.

The first ever instruments were the drum and the flute. What do you think people tried to do with them? Make a rhythm/pattern or use them chaotically to generate noise? Now I am no time traveller but what tribes in our days (tribes that never got in direct contact with advanced human societies) in Amazon forests have, is structured rhythms and melodies. Nature brings in the noise (wind, leafs, creaks, waterfalls) and human bring the rhythm and melody).

Take what ever period in the last 200,000 years of human history and you'll see a pattern (no pun intended) in music.

But if you can identify structure only in the music made in the last 100 years, I'm simply speachless.

 

Who has said stacking of 53 layers of nail polish is bad? Bizarre but I'm thinking about applying the same mechanism to my dreamy tracks:

 

If only you'd stop talking about what you want to do - and actually do it...

 

The track itself is made for the purpose of being noise that accompanies a scene. It isn't music. It's a tool to help filling otherwise silent scenes. No more, no less.

 

Hey Foster, you get a lot of (well deserved) shit from forum members, but you know what I wanted to say? You're like our Brian Eno in some ways. Guy admitted freely in interviews that he is absolutely shit at being a musician, but just can't help himlself because he has so many ideas to try out. And if he doesn't try them, then who will???

 

How do you know I'm not trying? I have created lots of snippets (bad or good) and have invested a lot of time on the structures.

IMO the structuring is the most challenging subject in the production. I really don't have any problem in making the hook or main idea of the song. Not just me but almost anyone can make more than dozens of fragments or pieces but as you've noticed in this thread and also my other ones, thinking structurally that what would be the next is not a frank and straightforward procedure.

I'm not a pop song or any per-specified producer that just rely on the winning structures but like the other elements of the production I'm experimenting with them and soon I'm sure will acquire the integral knowledge of making a good track.

 

Last edited by a moderator: Dec 21, 2016

If after one year you're still at "snippets" phase, your approach to build something (music, carpentry, stone polishing etc.) is deeply flawed. You simply can't gain the inspiration to make something unique as long as you're not finishing something ordinary - basics of how the brain works.

We're not always on the right path first of all. Not always "a lot of time" equals "positive results". You seem like wanting to break all the rules at once without even trying to play by the rules first. All your actions scream the concept of "alchemy" (fyi that never ended with a positive result).

 

This is the concept of the rondo, you layer stuff, chamber music is based on it and electronic music as well to a certain extent.

Most of the early stuff was baroque inspired.

Music is whatever makes you feel like you are expressing yourself. It really hasn't changes that much since we first came up with it. Here is it 3400 years ago, and played a turtle shell with some cat intestines stretched over the opening.

 

Foster, this is for you. I wish that someone could tell me how to embed the player in a post, it would be marvelous.

https://clyp.it/ffp4jgw2

 

This is an experiment to see if a player is embeded.

 

@foster911 The dude was paying you a complement. Read the whole sentence again.

 

Hello i'm new here. I'm curious to know your opinion about this one.

Anyway i was really impressed with the track from Aethek.

 

or this

 

or this