Audio Recording 3:”Fibonacci Future Bass”
Integrating electronic, psycho, and future-bass styles with advanced frameworks like Fibonacci series, fractals, and Messiaen's modes, using innovative sound sources, rhythmic structures, and software automation to create a richly layered, emotionally dynamic musical experience.
Audio
Details
Style
Electronic, Psycho and Future-bass.
Sound Sources and Composition Intent
Sound sources: Jaw harp (with its fluctuating pitch), along with some transitional sound elements, such as children's shouts and FX sounds, are used to create an atmosphere that is both psychedelic and reminiscent of Future Bass.
Large-Scale Form and Structural Models
The large-scale form of my piece is Fibonacci series "1-1-2-3" series in each of its 8 behind the bars, each bar 20s, so the total length of the song is 2 minutes and 20s, the reason for this largescale form is that the time period of the Future Bass "Drop" part of the whole song is exactly 0.618 times the length of the whole song, and the whole song becomes a "Golden Proportion" in terms of musicality.
Small-Scale Form and Structural Reasoning
For the small-scale form, I use “Fractals” in two different parts. The first one is “1-1-2-3”,(the second part), I initially distribute Mode 2 from "Messiaen Mode of Limited Transposition" across two four-bar phrases (as seen in the blue section), then I double the rhythm over the next two four-bar phrases with two instances of Mode 2 (as indicated in the orange section), and follow that with two four-bar phrases containing four instances of Mode 2. Each rhythm is suited to different timbres, for example, in the section with "four instances of Mode 2 over two four-bar phrases," I utilized the saxophone as the lead. In the orange section, I used a sub-bass to give more depth to that part, and finally, I used "Mode 2 distributed over two four-bar phrases" as a pad to lay the foundation, creating a richly layered section. Coupled with a drum set at 100 BPM, this gradually builds up the emotional intensity.
The second one is “1-1-2-3”,(the fourth part), specifically the second set of eight beats in the third part, which serves as the "Drop" section. In this part, the chord progression follows E-D-B-C. To enrich the melody of this section, I use their seventh and ninth chords. To achieve the style of "future bass," I utilize the "Serum" sound synthesizer to create the tones, separating them into three different rhythms: 1/4 bar, 1/8 bar, and 1/16 bar. Additionally, I employ "Channel EQ" to isolate the low, mid, and high frequency bands of the three different sections. This layering enriches the main sound effects of the "Drop" section.
Messiaen Modes or Synthetic Mode Usage
The first “Messiaen Mode of Limited Transposition” is used in“1-1-2-3”（the 1st part）,as
“Mode2”，that’s“C-Db-Eb-E-Gb-G-A-Bb-C”;The second one is used in“1-1-2-3”（the 2nd part), also“Mode2”, the final part is“1-1-2-3”(the 4th part) in the second part, where the piano takes the lead in the second set of eight beats, also using "Mode 2”.
Non-Retrogradable Rhythms and Polymetric Patterns
The first instance of contrametric occurs in the drum section of the first part, where I use a clip placed on the off-beats. The second instance is in the rhythmic part of the Mode 2 melody, for which I have utilized "Non-retrogradable Rhythm." The third instance is found in the spaces between the rhythms of the first eight beats of the second measure in the forth part (Drop). On the melodic level, although it appears to be a retrogradable rhythm, the way the intervals are set turns it into a nonretrogradable rhythm.
Augmented and Diminished Rhythms
The first instance occurs between the first and second parts, where the melody undergoes "Augmentation" due to the use of "Fractals" in smaller structures, which augments the rhythm by extending the duration of the original MIDI notes. From the second to the third part, there is a "Diminished Rhythm" as the "Mode 2" notes from the "Messiaen Mode of Limited Transposition" are transformed into seventh and ninth chords, and the duration of the melody notes is also changed to quarter notes, resulting in a slower rhythm. The connection between the two sets of eight beats in the third part is where the melody is "Augmented," manifested through an acceleration of the drum group's rhythm. Transitioning from the third to the fourth part, there is again an "Augmented Rhythm," which is expressed through changes in the duration of the notes. Lastly, the connection between the second and third set of eight beats in the fourth part is a "Diminished Rhythm," where the drums are withdrawn and the note values change to quarter notes.
Isorhythmic Process or Specific Rhythmic Techniques
For the Isorhythmic Process, it is exemplified in the Drop section through the use of three different colors and three types of Talea, which are combined randomly to create diverse melodic effects.
M4L Patches and Automation
The first Max for Live (M4L) device is used in the first section, where I utilize a "Harmonic Filter" to automatically and randomly adjust the melodic direction of the timbre. This is paired with a "mouth harp" to create a pitch, with the chords changing continuously, conveying a psychedelic feeling.
