As this was the first assignment for COM381, the prompt was to create a piece with only one melodic sound. Therefore, I brainstormed ways to make an effective, complete-sounding song in accordance with this parameter. This is why I chose to use a glockenspiel as the sound to carry the piece. I believe the whimsical timbre of the glockenspiel demands listeners' attention. The mystical vibe of this piece is what compelled to name it "Pink Dust", in relation to fairies and magic.

Assignment 1- Pink Dust

For this assignment, we were instructed to expand upon the songs we created for Assignment 1. The piece that I made, "Pink Dust", got generally positive feedback, which made it slightly difficult to expand upon it. However, I decided to take Professor Rothenberg's advice and challenge myself by adding various audio effects to warp the sounds of "Pink Dust". I settled on adding a gradual distortion effect to the glockenspiel in the song to heighten the intensity and create a crescendo. In addition to this audio warping, I altered a few notes to make the piece as fine tuned as possible.

Assignment 2- Pink Dust (final)

For this assignment, we were instructed to create an instrumental using only one sample. Therefore, all of the sounds from this piece were taken from a single clip from the movie "Friday After Next".  When I first watched this movie, I was awestruck by the soul-style cover of "Silent Night" that plays at the beginning of the film. This is why I decided to sample this clip in the first place, only later deciding to utilize the audio clips of dialogue and other sound effects from the scene. The second section of this piece utilizes fast-paced percussion that was taken from the chase sequence directly after the "Silent Night" section ends in the movie. I then decided to layer warped audio of chords and vocal humming from the "Silent Night" section over this percussion to complete my outro. At the end, I added audio of dialogue from the movie to create a humorous angle to the song. The scene from the movie that I sampled features a man dressed up as Santa Claus robbing various houses in the main character's neighborhood, which is why I called the piece "bad santa".

Assignment 3 - bad santa

The goal for this assignment was to create a piece that featured distinct percussion over other melodic elements. Because the drums were supposed to be the most prominent instrument in this piece, I decided to create a drill beat. This is because drill music is generally defined by its stuttering hi-hat and snare patterns, which carry instruments forward and give them their distinctive energy. For my beat, I decided to utilize a sample that repeats basically the entire song to allow the drum pattern to take the forefront. This sample was a loop from the song "Poacher's Pride" by Nicole Dollanganger, a somber folk song that features airy female vocals over sparse guitar playing. I got the idea to use this sample from the artist, XXXTentacion, who also sampled "Poacher's Pride" in his song "WingRiddenAngel". I decided to add a busy percussion line over the main drum pattern during the verse sections to provide rhythmic variation. To end the song, I layered multiple audio clips from "Poacher's Pride" over one another to make the beat more layered and cinematic.

Assignment 5 - Haloshot

For this assignment, we were instructed to create a collaborative piece with a single partner and combine each other's styles into a single piece. I worked with Denis S., as he and I share a common interest in hip-hop music, particularly the trap subgenre. Therefore, we decided to make an instrumental in this vein. My partner chose and chopped up the sample that we used in our beat, while I used my technical ability to flesh it out. I added extra instrumentation, such as synths and strings, to make the beat more layered and dramatic. Overall, this was an educational experience for both of us. At points where I wanted to take the beat in a more complicated direction, my partner reminded me to stay true to the genre of trap and keep things simple. Furthermore, I was able to show my partner many beat-making techniques that he had not yet been aware of or explored to their fullest potential.

Assignment 6 - Static (Andre F. & Denis S.)

For this assignment, we were instructed to compose a piece using only percussion sounds and no melody. Therefore, my initial impulse was to utilize hand percussion sounds such as bongos and congas. This is because these sorts of instruments have the most potential to lead a piece when compared to other percussion instruments that generally act as background. I began playing steady quarter notes using a bongo, and began to expand the beat around that simple rhythm. As my piece progressed, it occurred to me that it had a sound akin to a Native American ritualistic piece. Therefore, I decided to embrace this direction and push it further by adding chants and atmospheric chimes. When the piece was complete, it felt fitting to name it after "Powwow", a vibrant Native American social gathering featuring dancing, drumming, and cultural sharing.

Assignment 4 - Powwow

For this assignment, my partner (Denis) and I performed "Static" live. This was the piece we submitted for Assignment 6, which is a gloomy, dramatic trap instrumental. We decided to keep the programmed 808 drums in the background of our performance. This is because we wanted the live performance of the beat to maintain the trap sound. This gave room for improvised instrumentation and freestyling over the drum loop. For the first leg of our performance, we replicated the sounds of the original beat as closely as possible. I played the beat's main melody using a Wurli keyboard sound, while Denis played the 808 bass notes. For the second leg, we allowed the full beat to play so we could improvise over it. We freestyled, and I eventually added improv trumpet playing over Denis' verse.

Assignment 7 - Static Live Performance (Andre F. & Denis S.)

For this assignment, my group and I improvised over a multi-phase drum track. Denis put the drum track together by taking drum beats from three hip hop songs and playing them in succession. During the performance, Jacob played a synth sub bass, Erik played a synth lead, Denis played audio clips over the music, and I played an electric keyboard. We created a dreary synth beat that changed its tempo as the different phases of drum loops played. We were able to keep a quite consistent mood throughout the piece, keeping it in a gloomy minor key for the entire runtime.

Assignment 8 - phases... Live Performance (w/ Denis, Erik, & Jacob)

For my final project in COM381, I set out to synthesize and showcase the full range of skills I developed throughout the course. Because this project serves as my culminating submission, I intentionally adopted a maximalist approach, pushing the boundaries of structure, texture, and narrative. Rather than creating a conventional beat, I chose to compose a long-form, multi-movement piece that functions more like a composition. This vision led to “let’s go in the garden, there’s something you should see,” a work designed to guide the listener through a psychedelic-inspired auditory journey.

The piece unfolds in distinct phases, each representing an emotional and sensory stage of a psychedelic experience. My goal was to reflect the dramatic highs, lows, confusion, and fleeting clarity that can accompany such a trip. To accomplish this, I layered numerous samples with original MIDI instrumentation and detailed drum programming. One unifying element throughout the entire work is a repeating drum loop, which remains constant as chord progressions, textures, and sonic palettes shift around it, providing continuity amid constant change.

The composition opens with an atmosphere of mystery and anticipation, evoking the curiosity one might feel before trying psychedelics for the first time. A softly sung female vocal repeats the line “let’s go in the garden,” symbolizing an invitation into an unfamiliar world. This vocal is sampled from “Everything Stays,” written for "Adventure Time". The restrained instrumentation gradually builds tension until it reaches a peak, after which the music abruptly shifts into a busier, more chaotic section, representing sudden immersion into an altered reality.

The second movement introduces chopped and looped handpan samples from C418’s “Aria Math,” heavily processed with disorienting effects. Once the beat drops, the music becomes dramatic and overstimulating, mirroring the sensory overload associated with hallucinations. Synth pads and strings expand the soundscape until the section collapses into a stark transition where only the drums remain. Over this moment, audio clips discussing the neurological effects of psychedelics play, bridging into the next phase.

The third movement builds on the same rhythmic foundation but adds warped, reversed keyboard tones and a distorted sample from “The Boy Is Mine” by Brandy and Monica, layered with additional vocal harmonies. This section is intentionally dizzying and off-kilter, illustrating abstract and fragmented hallucinations. The fourth movement erupts with arpeggiated synths and dense vocal layers, forming the emotional peak of the piece. Familiar motifs return alongside glossy piano octaves and handpan textures, representing vulnerability and catharsis. At its climax, the music cuts to white noise.

The fifth movement begins in near silence, broken only by slow, high-pitched handpan notes. This reflects brief moments of lucidity and grounding. Gradually, guitars and keys enter, pulling the listener back into chaos. A chordal transition returns the piece to B minor, preparing for the reemergence of earlier motifs. The sixth section revisits the warped handpan chaos of the second movement, escalating to its most intense point before shedding its electronic layers.

The outro represents the return to reality. Synthetic sounds disappear, replaced by sparse acoustic instrumentation that conveys clarity and grounding. The song ends with a young woman reflecting on the uniqueness of psychedelic experiences, emphasizing that only those who have lived them truly understand their transformative nature.

Assignment 7 - Static Live Performance (Andre F. & Denis S.)

Andre Flores

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