Help!!
I'm currently trying to make some music with friends who aren't particularly
into the stuff we talk about on idm but I thought you (collective) might be
able to help .... Oh yeh, I'm classically trained, they're not ...
Seems that they're what I call "slaves to the eight" which means that when
we're working on our sequence they think everything has to make its change
at bar 9, 17, 25, 33, 41, etc., and there is no switching to 2/4 or 6/4 to
get a more flowing resolution or having a phrase 9, 10, 11, 12 bars long,
etc. Their argument is that DJ's won't want to play it if it does that. I
maintain as long as it flows and you can move to it it's valid and that we
can do things that are different phrasewise, and without that, the music
will get boring and cheesy really quickly, and if it stays phat then they'll
play it anyway -- and besides, don't most DJ's know their records inside and
out before they spin them in public? We have furious arguments about this
(although I won the ones about slight tempo changes and dynamics), and I end
up ruining lots of good ideas because they don't feel right after I've
"eighted" them. Then I refuse to record the sequence to DAT, and the
argument about money starts.
So, can you (collective) help me by telling me about some stuff that doesn't
stay a slave to the eight so I can build a DJ set out of it and show that it
can be done? One record that I've found that is a fantastic starting point
is Groove Collective's cover of the Beatles song "I Want You (She's So
Heavy)", which at the end of the verse hits a 2/4 bar, but flows really
nicely (if you know the song it's the last time the words "driving me mad"
occur in the verse). Any help that you can give me on anything that breaks
these ideas is more than appreciated ....
Thanks
K.