I took Marc's instructions for [disquiet0540] the other way around to explore a different avenue possible with this combination of numbers: Instead of 5/4, I went for a 4/5 feel (so based on five quintuplets rather than four sixteenth notes to the beat. Or you could look at it as a VERY fast 5/4).

This was inspired by Miles Okazaki's excellent book "Fundamentals of Guitar". The chapter about rhythm explores these and far more complex polypulses: https://www.milesokazaki.com/fundamentals-of-guitar
Also, I tried for something along the lines of Strobes from London: https://strobesband.bandcamp.com

So I ended up with a rather unsteady-feeling groove and the tricky task of playing a couple of guitar breaks in quintuplets.
But I spent far more time on the beat, obviously, which was too much fun.

See what you think! Thanks for listening. 

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More on this 540th weekly Disquiet Junto project — 5ive 4our (The Assignment: Take back 5/4 for Jedi time masters Dave Brubeck and Paul Desmond) — at: https://disquiet.com/0540/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0540-5ive-4our/

The one instruction for this week's Disquiet Junto assignment was to use an octave leap, which is something I quite often do anyway. 

So, I just set about writing a new track without thinking too hard about the brief. I actually started with the percussion that shows up later in the track.

The root on the opening part steps down an octave before introducing the next chord in the progression.

A two-note synth part is just the minor 7 on two octaves (with a major 6 once for colour - still fits the Dorian mode but is pretty HELLO when it shows up imo).

A second synth part doubles the guitar harmonic sounds, coming in via an opening low-pass filter. That synth part has its pitch modulated by a little step sequence, so it steps up one or two octaves, and the rate at which that's happening in shifting about. That part then runs into a delay (Valhalla Delay) which as a descending octave shift in the feedback patch.

A synth bass part arrives later that is just sustained notes following the root of each chord, but an arpeggiator steps up and down an octave. Kind of like with the pitch modulation on the other synth, the tempo of the arpeggiator is being modulated by an LFO, then quantised, to make it less synth disco / Girls & Boys.

More on this 564th weekly Disquiet Junto project — Octave Lept (The Assignment: Work an octave leap — or more than one — into a piece of music) — at: https://disquiet.com/0564/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0564-octave-lept/

The cover image for this project is from DALL·E 2. The prompt: “octave leap.”

[disquiet0565] Octave Leapt

Jet Jaguar - Sound 1 [disquiet0564] (Free download)

recording made on ableton with korg modwave, plogue bidule, nanoloop.

work in progress

Untitled #6

Work on kick-starting a goal that you have had for a song. For this one, it was to introduce some percussion.

More on this 597th weekly Disquiet Junto project, Goal Line (The Assignment: Get started on a plan by getting over getting started), at: https://disquiet.com/0597/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0597-goal-line/

lending library [disquiet0597]

Zwischen den Räumen

El conjunto del canto de ranas del Zarzal o trepadoras (Hypsiboas pulchellus) genera una obra sonora natural, acompañada de grillos y el sonido del mar. En su etapa de reproducción su llamado es muy sonoro, metálico y musical, producido por la rápida vibración de las cuerdas vocales que se amplifican por el saco vocal.

//ENG The singing of the Zarzal frogs or climbers (Hypsiboas pulchellus) generates a natural sound work, accompanied by crickets and the sound of the sea. In its reproduction stage, its call is very loud, metallic and musical, produced by the rapid vibration of the vocal cords that are amplified by the vocal sac.

— Grabación de campo realizada en un charcal a orillas de la  Playa Bello Horizonte, Costa Azul, Uruguay  05-04-2023 02:00 AM
///
Autor: @damian-alferez
Equipos: Grabadora Portátil ZOOM
Localidad: Playa Bello Horizonte, Costa Azul - Uruguay
Fecha: 5 de Abril del 2023
Hora: 02:00 AM (UTC-3)

Concierto de Ranas del Zarzal - Damián Alférez (AR)

NERVOUS

From my first album: "Hope For Hope", Released in 2021
A story about remorse, understanding old values and ignorance.

IVOOR/PILL/DROEWIGE

eve for an eve

death is for the living

https://tectorumtapes.bandcamp.com/album/berlin-reverberations-from-remembering-yet-to-occur

IVOOR/PILL/DROEWIGE

Reseketz

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