Remix composition - Longitudinal and Latitudinal Composition
Chapus observes that, when
composing cumulative grooves for a song, one can create a vertical stack
of rhythmic parts/loops to check for compatibility. For the purposes of
this thesis, I describe this vertical stacking process as 'longitudinal
composition'. Placing all drum samples on top of one another allows the
assess the compatibility (rhythmic and timbral) of all parts.
identify those loops which might be combined for different sections.
plan the growth and development of the rhythmical groove.
Using Acid Pro, I create a one to eight-bar repetitive area in the sequencer
window. By importing and auditioning potential drum loops for a given
composition, I assess their compatibility with each other for the purposes
of creating cumulative grooves. At this point I am merely checking that
there are no obvious incompatibility issues, rather than making decisions
about where these patterns might be located in the overall composition.
After compiling a collection of compatible drum loops, I import individual
drum sounds and place these so as to complement the looped groove. By
combining drum loops with other drum loops or individual sounds it is
possible to create a distinctive and interesting cumulative groove.
Once a pool of component loops is created it is possible to place them
'horizontally' in various combinations and in various locations within
the overall composition - adding and subtracting loops to manipulate the
thickness/thinness of the texture. For the purposes of this thesis I describe
this horizontal process as 'latitudinal composition'.
Any standard sequencer program allows loops to be copied and placed in
various locations over the duration of the composition.
Longitudinal composition involves the vertical stacking of parts and
the selection of compatible parts to create cumulative grooves. Latitudinal
composition involves the arrangement of cumulative grooves throughout
the overall composition.