1. I’m about to get started (late!) on my first contribution to Marc Weidenbaum’s Junto series. This is the 19th installment, a graphic score piece. This photo (by Yojiro Imasaka) is the score.

    THINKING OUT LOUD GO:

    One thing I want to avoid is mapping visual variables to musical variables without concern for what the music sounds like. I really want to make things that sound rad first and foremost. So, proceeding with that in mind.

    The first two things that come to mind are to map X and Y to pitch and duration (either combination), probably cuz that’s how western notation / sequencers / DAWs work mostly. But, eh.

    What if I remove temporality (is that a word?) from the score but keep it in the piece - like the piece changes even though the score doesn’t dictate any change? The score might dictate what kind of instrumentation to use, or how to use those instruments. You could say it kinda looks like three voices from left to right? Eh, nah. The shapes in the photo look a plus sign, can we do something with that? What about the photo’s perspective - the big white column of a vanishing point?

    OK back up, maybe decide on what to work with first. Let’s say more than one voice - drum machines and guitar, what the hell. At least that narrows it down some.

    So wait, so this is a photo - I’ve been taking photos for years, I’ve probably got some things to draw on here.

    Interpreting color isn’t an option, but composition and lighting, sure. What if I used aspects of the composition, like where shit is placed in the photo, to determine how the drum machines might go, and what if I used aspects of the lighting to determine how the guitar parts would go? Is that corny or stupid sounding? Maybe. Whatever fuck it, it’s a track, who cares let’s go. As long as it sounds rad.

     
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