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Encounter Point / Timeline Shifting

edited May 13 in Creations

Creating counterpoint is a lot easier when you can just shift instruments against each other on the timeline. Finding the right entry point was the trick.

PurePiano x2, BeatHawk Celeste, PureSynthPlatinum Open Nylon Guitar.

Comments

  • Bumping this as it’s a very interesting example of using timeline shifting to create counterpoint without the usual compositional difficulties. I was extremely pleased with the results. @McD you might want to check this out.

  • Not sure I understood what you did here :) Like, duplicate a midi track and timeshift it against the original until it sounds right? It does sound very good to me.

  • That worked out well. I used to play these "canonic sonatas" by Telemann. Basically, it's one melodic line that's repeated exactly about two measures delayed. Here's a guy playing it by himself using a delay unit.
    Telemann Canonic Sonata No. 1 - Allegro

  • Cool!
    And the mild Celeste in the background is a great fit.

  • Thx @Stochastically and @rs2000. It was fun to do.
    @JudasZimmerman just as you thought…

  • Right! So kind of using a delay with no feedback, except you can edit the second track for effect.

    Earlier I used to use rozeta etc to create some songs using the randomizers, and I found that adding a delay made those sound a whole lot more like music. Maybe this is a better way tondo that too.

  • This sounds so very good. Thank you for sharing.

  • Counterpoint has always fascinated me. I love pieces like this. And that thumbnail is an Escher isn’t it? Repeating themes were his speciality. Tessellation.
    One of my brother’s favorite books is Douglas Hofstadter's “Gödel, Escher, Bach”.
    https://en.m.wikipedia.org/wiki/Gödel,_Escher,_Bach
    I keep meaning to read it myself. I’m not sure I’m smart enough to get as much out of it as he did.
    Sorry. Got lost on a tangent.
    To long, didn’t read; Great piece of music. Thank you for sharing.

  • McDMcD
    edited May 16

    @LinearLineman said:
    @McD you might want to check this out.

    OK... sorry, I checked out completely on listening to creative works here.

    WOW. You sustained the Bach Fugue-like style of counterpoint for almost 5 minutes.

    Counterpoint in this era was performed by overlaying melodic materials that fit together
    rhythmically and avoided a few critical rules:

    Do not have parallel 5ths, octaves or 4ths across the 2 parts (unless a 3rd part is moving
    in a contrary fashion.

    Mike uses a lot of stepwise melodic material so sending one up while the other goes down insures no parallel segments.

    In school they would make use identify the chord progressions underlying the Back Fugues.
    It was amazing to see that Bach followed some pretty typical chord sequences and would modulate to other keys on the journey and eventually get back to the starting key.

    I think it' a musical style that appeals to those that analyze music in realtime and predict when things are going. Being able to improvise in this style is an example of someone that has spent a lot of time at the keyboard learning to treat each hand as an independent instrument. Bach could have sections with three melodies where that middle instrument can get passed between hands. Improvising 3 parts would really be something as a mental exercise. But frankly... a minute or 2 of this style is enough for me. I find it mentally exhausting and tension inducing. I prefer chordal music and less motion. In fact I often love a really nice chordal loop or ostinato (repeated baseline).

  • Thanks @McD, training with Connie Crothers put an emphasis on independence. Mostly it was playing and improvising melodies in the left hand. Of course there was scale work that strengthened single note playing in the left as well.

    For most creators here who use a keyboard I don’t think that is necessary. However experience improvisation, if only in the right hand, would help everyone make more and better music, IMO.

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