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Look what I made! / Re: Chaos Algorithms
« on: June 15, 2017, 02:33:14 »Some experiment.
I got a question. Do you know what a key is(in the context of music)?
Not trying to call you stupid or anything, but I'm just asking.
It's not in a key. I tried to come up with some tortured analysis of it to say "It's in this key or mode" but really, it isn't. The first part starts out in C Phyrgian and goes crazy modulating a half step to C# minor, except there's an added major note in the scale, then modulating to something in D which I don't know the name of (D, Eb, A, B are the notes used) and finishing by modulating to E (it could be any scale that starts with E)
Then the thing gets cut up into a fragment with a 10/4 time signature. Then at pattern 5 the fragment is modulated up a half step to C#.
At six it again chops the 10/4 piece into an 8/4 fragment by removing the last two spaces, then does the thing where instead of key changes there are modulations, but this time going "D-D-D-D-D#-E-D-G", maintaining this modulation tendency through pattern 7, 8, then in 9 modulating to a repeating 10/4 D Phyrgian fragment, maintaining this through 10, cutting it to 5/4 in 11, modulating to C Phrgyian in 12.
Pattern 13 has a repeating modulation pattern in the time signature of 6/4 where C Phygian is modulated to A# Phrygian, and this is repeated 4 times. Pattern 14 maintains this basic structure. Then pattern 16 cuts the whole two modulation section by removing the last two lines, making it 10/4. Pattern 17 is in C Minor and 6/4 time signature with a recurring sometimes-chromatic note that goes: D, C#, C, D
Pattern 18 is in 4/4 and has C Phygian Modulate into G# Phygian and back, same with Pattern 19. Pattern 20 is in 10/4, in C Phyrgian with a chromatic A note, same with pattern 21.
Patterns 22 and 23 are repeats of patterns 7 and 8, the whole thing with its sub-modulations modulated to G# (basically, take pattern 7 and 8, hit the transpose up on the whole thing until the first note is G#)
Pattern 24 uses the same structure as 23.
On pattern 25 it all ends on a G#-7 note.
Edit: Sorry if this analysis sounded annoying or pedantic, but its the best I could do, hehe...
