[AsylumSeaker]

I forgot about this earlier:

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Pretty much a study in hypnotic repetition.

[EXZIZT]

In reference to this thread's topic - You mean like ALL mainstream pop and club songs these days? Tell me..... HOW DO THEY DO IT? It's always blown me away how the listener's don't get bored...

[AsylumSeaker]

Most pop songs tend to have a verse / chorus type structure though, with different repeating hooks, rather than a continuous motif or phrase that runs for a long time or the whole time.

[Johnny_Newman]

I tried to go back through the tread to see if anyone mentioned this, but the distance between chord progressions create momentum. It's quite traditional for jazz to follow a series of 4ths through the IV vii iii vi ii V I progression. Often these chords are given dominant 7ths on top of the triad to create what's known as 'Secondary Dominants' in the classical theory.

The Coltrane matrix as mentioned earlier does create that role of tension that pushes the composition forward. Personally, I enjoy mediant relationships (eg. C major, E major , G# major, repeat)

I've used different sets of chromatic chordal relationships to create momentum. In this song & brief analysis below, I used a set of minor 3rd relationships.

pardon the url's, my post count isn't high enough to post click-able links

"johnnynewman.files.wordpress.com/2011/06/desideratum-ii-the-cleansing.pdf"

"johnny-newman.com/track/the-cleansing"

also, from my composition, "Arise Lazarus," this brief analysis of a chromatic, rising progression, & song.

"johnnynewman.files.wordpress.com/2011/06/arise-lazarus-chorus-analysis.pdf"

"johnny-newman.com/track/arise-lazarus"

[st326]

I often use the same chord progression through a track, but my tracks don't really repeat themselves. I'm generally morphing the sound somehow, the drums are all over the place messed up, there are one or two breakdowns, etc. Also, I tend not to use very standard structures for chord progressions -- I'll hardly ever do something like change chord once per bar or some such. A track I just finished is basically fully chromatic, in effect the key changes several times per bar every time the lead line changes note. There is a 2-bar repeating sequence to the main line, but every 4 bars I roll this around a separate progression that transposes everything. It sounds like it should be dissonant, but it's actually not at all because I never play anything against anything else that doesn't have a harmonic relationship. Though, I should admit that I basically just played the line into the sequencer and figured out the theory about what I'd just done later. :-)

PS: I don't know if I have enough posts on here to post a link to an example, but here goes just in case:

Agh, didn't work. You can find me by searching for Mage of Machines on SoundCloud.

This will get you to 3 tracks of mine -- currently I only have one set up there. The track, "Chromatic Fantasy #1" is the one I was talking about above. "Freya" is probably even more minimal with respect to chord progression. "Lilith" is... just weird. Anyway.

[Middie]

That Aphex Twin track = boring. I'm sorry, but fuck, sackride him all you like, but the Tool track is far more intersting, regardless of vocal.



Oh god, the aftermath