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  • Ess Beck

Your Actions is Required: Taste x feelings


Taste:

What I have noticed since I arrived in Malmö is that my eating habits are different. Well, they are the same but somewhat different.

Firstly I have to deal with the supermarket selection being slightly different than in Denmark. I have to improvise. Then the fact that the products seem more tailored to Danish taste buds. Then there is my ability to cook/prepare the foods in the surroundings I am in. It's limited. I repeat some of the same patterns in what I chose to consume. I compose my meals from the same idea of what I would like to eat, but the timing of my meals and my appetite is behaving differently.

I am also trying out new things. But they are still different variations over the same theme.

It got me thinking about the analogy to the creative process I am in; how I am putting together what I like, what I would like to consume sonically and what I would like to serve my audience. I am also trying my best to taste new things, but when you are hungry and have to economise, you don't want to take to many risks. You still want something edible as a result of your actions.

But the analogy between food and impro/experimental music is not far fetched: It's about combing textures and flavours.

So what is the opposite of composing for consumption. What wouldn't I like to consume sonically?

Today I tried to draw a visual representation of my two method of composition: basically, the matrix that I seem to operate with. Recipe for improvisation:

I tend to operate between two types of composition, which I distinguish from how the foundation is created:

TYPE 1: 1) Firstly, the foundation is created as a loop. The loop in type one is usually 1-2 notes layered in a coherent drone-loop, or 1-2 notes overlapping/intertwining sporadically. either in same octave or below/above.( lets call the latter type 1-a)

2) Then I created what I would call the "response"-loop. Which is a "comment" or a creative-emotive response to what I am hearing. This is usually in octaves higher or lower than the drone loop. Mostly it's higher, to stand out.

With this I usually make use of 2-3 notes. They are either place directly "on" the foundation loop's notes or as small delayed responses. Other times they are working sporadically on their own merits, and seemingly disconnect from the relative logic of the foundation loop. I tend to like to place half notes in a slightly skewed juxtaposition from the notes of the foundation loop

Then after that I may ad a drone from another source or arrhythmical sounds from conrete sources like the metal plates.

In this phase I tend to want to add an element which has a klang (timbre) which is naturally outside (or not belonging to) the scale-logic that is present in the foundation loops and the response-loop.

So I guess that part is a "destruction" or disruption of the musical logical that was appearing to build up. So this could be white noise, whispers, metallic sounds and so on.

However, sometimes I want to balance the picture with simple vocal drones that are looped, and with slight melodic variations that has a celestial feel to it.

Type 1 can also be created in reverse order.

TYPE 2:

Type 2 is somewhat the opposite of type 1.

It starts with a rhythmical foundation: A tempo and a rhytmn. The rhytmn usually starts with two events within 16 beats. and sometimes more is added /layered) or it will stay as 1-2 events within 16 beats. usually slow tempo.

But that seems to depend on my mood and time of day. Sometimes I use the sequenzer or I simply add directly to the loop.

I like to add just a little cacophonous element.

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Changes:

At some point I will usually set the looper in reverse or half speed (pitch down) or both - at any point in the composition process. It warps the idea of what I am doing and where I was going to and forces my to changes my direction with my idea.

In both types I treat everything as "sound" with different timbres and tonal (hZ) origin and relations. So everything is potentially in relation to everything, so to speak, and sounds and music can co-exist together in various combinations.

before I start working I will add this reflection and question. Are feelings and taste the autonomous auteurs in this relation? The act of composing and the state of flow:

#composition #experimental #IAC #makesoundresidency #essbeck #observingmethod #music #sound

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