Aside from Bach, Chopin is my favorite dead white European male composer. He isn’t as overtly “jazzy” as Debussy or Ravel, but his music shares many of the qualities of jazz that I like: miniature-scale forms densely packed with rhythmic and harmonic excitement, in the service of organic-sounding melodies. Chopin’s Nocture Op 9 No 1 …
Continue reading “Jazzy harmony and crazy tuplets in Chopin’s Nocturne Op 9 No 1”
The same Disquiet Junto project that spawned this wildly recursive remix also involved a few more people remixing my remix. Here’s a family tree of the three first generation source tracks, the seven second generation remixes of those tracks, and the three third generation remixes of the second generation remixes. You can hear the three third-generation metaremixes below.
Every so often I like to document my ever-evolving internet presence. Here’s how things stand at the moment. Click the flowchart to see it bigger; explanation is below.
Computer-based music production and composition involves the eyes as much as the ears. The representations in audio editors like Pro Tools and Ableton Live are purely informational, waveforms and grids and linear graphs. Some visualization systems are purely decorative, like the psychedelic semi-random graphics produced by iTunes. Some systems lie in between. I see rich …
Here’s an alarming Mark Zuckerberg quote from The Facebook Effect by David Kirpatrick: You have one identity… The days of you having a different image for your work friends or co-workers and for the other people you know are probably coming to an end pretty quickly… Having two identities for yourself is an example of …
