In this review by the "BBC Music Magazine," you can delve into the recent work of Humanities University Prof. Augusta Read Thomas, whose compositions manifest palpable energy, complexity, and an innovative approach to sound and form that marks her enduring impact on contemporary music. "Thomas is well-established as one of America’s most accomplished and inventive contemporary composers." >> https://bit.ly/3yjwQFT
Disclosure's 'Latch' is a great example in the use of minor 7th, major 6th, and major 7th chords, enriched further by the addition of suspended chords, ninths, and thirteenths to create a tapestry of sound that is both complex and captivating.
The artistry lies not just in the chord selection but in the voicing techniques employed. By rearranging notes for smoother transitions, 'Latch' exemplifies how strategic chord voicing can enhance musical storytelling.
This analysis shows the intricate craftsmanship behind a popular electronic track and the creative possibilities that lie in understanding the foundational elements of music theory. For professionals in the music industry, 'Latch' helps us discover new realms of sound.
Making Disclosure's "Latch" Chord Progression. Try it yourself in our online studio https://loom.ly/N0GWjV0#disclosure#samsmith#latch#electronicdancemusic#electronicmusic#daw#musictheory#beatmaking#chords#fyp#fypage
https://lnkd.in/gJaecd3R
**Live Concert, Berlin, Soon**
Album title:
Music For Black Sine Wave
by Payman Abdali
https://lnkd.in/esAKRbCv
About the Project
On July 2023, Ehsan Saboohi, Composer and the Post-Orientalism music theorist published his theory revolving the significance of the bass line in the methodology of Post-Orientalism music, by releasing his twenty-four pieces of bass compositions for a sine wave on Noise à Noise. Sounds were released without any further processing of the sounds.
Listen to it here: https://lnkd.in/e47f4thY
By doing so, Saboohi invited his colleagues from across the disciplines of art (Music, Painting, Cinema and Literature) through a number of open-calls and friendly invitations, an invitation which was about adding to or making with a free development of the pieces from his solo-bass album.
About the album
The album that you are listening to right now is the outcome of thoughts by Payman Abdali, as the Electronic music artist.
In these pieces, Abdali attains a new structure and view of the methods of use, and the placement of intervals in the modal structures. You, as the audience, are not going to hear “type melodies” of Radif, or ever repeating performances from different Dastgaahs of Persian traditional music through the pieces. Sound blocks are not limiting themselves into the limited circles that were suggested by many music theorists throughout history, including Farabi, Abdul-Ghader Maraghi and Safi-al Din Urmawi, also not to involve and barr the theoretical foundations of Iranian music Dastgaahs. The sound blocks in the music by ‘Abdali’ are consciously free from the traditional predefined structure of Dastgaah music, namely “Šur”, “Segaah”, “Homayoun',' etc.
By analyzing his methodology, we may be able to call the work of “Payman Abdali” an Electronic Post-Orientalism.
Moments and situations in which ‘Microtonal’ intervals are - similar to how a composer from Western countries may look toward - are smaller than quarter-tones. The point is about how these intervals are not going to construct the “discontinuity and domination of Dastgaahs”, or in other words, they are not going to turn into sacred big tonal intervals.
These intervals are neither considered as micro or macro in the view point of Post-Orientalism music, and they are not unalterable. They are just Post-Orientalism intervals.
In this album, Payman Abdali has constructed a narrative structure and form. In his works, sound blocks transform from sound into photos, and images that represent signs from the life and identity of the composer.
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