'Creep Test 2, Electrocreeps' - New Original Musical Exercise Using Dissonant Chord Changes! Electronic/Instrumental + Walkthrough!
Here's another exercise
in writing something SUPER dissonant. This time, we're in 11/8, subdivided so it feels like 2 bars of 4/4, then 1 of 3/4. Everything is based around the piano progression, which is 3 chords for each bar of 11. The rest of the instruments were mostly just playing around with some sounds that I've never used, from NI Kontakt, and Ableton's Wavetable synths. Let's go through it!
Listen to Creep Test 2, Electrocreeps here.
Tracks 1 and 2 are the
drums, with the snares in Track 1, and the kicks, hihats, and other random stuff in Track 2. Tracks 3 and 4 use the main progression, with Track 3 being our piano, and Track 4 some bells, which use an arpeggiator for a weird, off-kilter melody line using just chord tones. In Track 3, we have two different parts, Green (let's call it A) and Purple (B). The A section uses the following chords: 1st bar - Amaj7, Fmaj7, Bmin6, 2nd bar - Fmaj7, C#maj7, Ebmin7b11, then we repeat. The B section alters things a bit: 1st bar - Amin7, F#min, Amin again (in 3rd inversion), 2nd bar - Bbmin (3rd inv.), Dmaj7, C#maj7, then repeat.
Tracks 3 and 4, A section (Green).
Listen to Creep Test 2, Electrocreeps here.
Tracks 3 and 4, B section (Purple)
These chords definitely
get pretty nondiatonic, which definitely adds to the tension. However, I'd like to alter the progression so it doesn't follow the same format for every bar (1st chord for 4 beats, 2nd chord for 4 beats, 3rd chord for 3 beats) as I think that could make things a little more interesting. Our next Track is #5, the synth bass, which keeps to a simple pattern, general sticking to root notes, though we have some changes in the purple section that I think harmonized nicely.
Listen to Creep Test 2, Electrocreeps here.
Track 6 is a track that
I like the general idea of, but I'm not sure I like how I impleneted it. It basically arpeggiates the same chords, holding the highest note, then descending through the next two. I love the timbre, but I feel like something a little more sparse might have worked better, as it just follows the piano part and doesn't stray into it's own melody. Finally we have Track 7, which just provides a little ascending sample to transition between parts (mostly a placeholder).
Track 5, synth bass.
I hope you've enjoyed this little exercise in dissonant chord changes. I think there are some cool ideas here, it just need to jammed out a bit more, to iron things out.
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