Melodies
Flying Bed:
I wrote a melody based on an extract from Stephen Laberge's "Exploring The World of Lucid Dreaming." The extract was a story about a dream involving a man lying on a bed flying around a room.
Modulation:
The modulation was to write the melody out backwards.
Mathon Church:
I wrote a melody inspired by a location I had never been to before. I drove to a town called Mathon and visited the church there.
Phone:
I took the numbers in my mobile number and used them as musical directions. In the first half of the melody I regarded each number as one semitone, so for example a 0 would represent unison or a 7 would represent perfect 5th. I then used these semitones to either ascend or descend, depending on which one was preferable. In the second half of the melody, starting on bar 5, I regarded each number as tablature on the bottom string of the guitar. For example, a 7 in the phone number would mean the 7th fret of the bottom string.
Modulation:
I used a melodic inversion for the modulation.
Rhinog Run:
This melody was based on a picture of a dog chasing a rhino with caption saying "it's all about the attitude."
Modulation:
Octave dispersion - I replaced some notes in the piece for their equivalent octaves (above or below.)
Serial Filler:
I wrote a melody using serialism. This means using each of the 12 tones once before using any of them again.
Modulation:
I used augmentation and diminution to produce a new rhythm.
Slabfoot:
This melody is based on an event in my life. When I was a child I was searching for insects behind a slab. The slab then fell on my foot.
Modulation:
I added embellishments to this piece. I used vibrato, a trill and glissando.
Rhythms
Found Sound:
I recorded the sound from a fridge at my work.
Modulation:
I copied and pasted it into a rhythm.
Improvised Rhythm:
I tapped a rhythm on my desk and recorded it.
Modulation:
I then reversed it.
Play Then (Speech):
I recorded my friend speaking.
Modulation:
I then time stretched the recording to create a noticeable rhythm.
Metric Modulation:
I wrote a rhythm in 3/4.
Modulation:
I then metrically modulated it into different time signatures.
Strathingsky:
I listened to Stravinsky's "Rite of Spring" then wrote a rhythm inspired by it.
Modulation:
I then used additive and reductive rhythms to create a slightly altered rhythm.
Time Signatures:
I rolled a dice to get three different time signatures: 16/8, 9/16 and 18/16. I then wrote a drum rhythm that used each of these time signatures.
Modulation:
I then wrote it out in reverse.
Harmonies
Bitonality:
I wrote a chord progression using triads from both C major and D major. (A total of 6 notes per chord.)
Modulation:
Tritonality - I added triads from an extra key (E major) to create 9-note chords.
Chord Flakes:
I wrote 3 groups of 4 serialist triads.
Modulation:
I put each chord into the key of E major. I did this by replacing the out of key notes with the nearest diatonic note.
Dice:
I rolled a 12-sided dice for random numbers. Each number related to one of the 12 notes. I grouped these notes into chords and created a chord progression from it.
Modulation:
I added bass notes beneath the chords.
Quartal Harmony:
I wrote a 16-chord progression using quartal harmony. This means chords with intervals of 4ths.
Modulation:
I gave each chord a number from 1-16 in order and rewrote the progression, with the same rhythm, but wrote in this order: 1, 3, 5, 7, 9, 11, 13, 15, 16, 14, 12, 10, 8, 6, 4, 2.
Van Gogh:
I wrote a progression inspired by a historical figure. I chose Van Gogh.
Modulation:
I gave each interval its own replacement interval:
Unison remains the same
b2 becomes 4th
2nd becomes b6
b3 becomes 6th
3rd becomes 5th
4th becomes b2
b5 becomes 2nd
5th becomes 3rd
b6 becomes 7th
6th becomes b7
b7 becomes b5
7th becomes b3
For example, if the original chord had a minor 3rd interval in it I replaced that interval for a 6th. I did this for each note to create new chords.
Weetabass:
I wrote a serialist bassline and added 4-note chords over the top.
Modulation:
The modulation for this progression was to shift the top two notes of each chords and use them to replace the top two notes of the next chord. I used the top two notes of the last two chords to replace the top two of the first chord.
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