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The fallacy here is that one needs to experience every note/harmony/rhythm combination to have a sense of the extent of the possibilities
I can’t see your proof anywhere of that statement Tom, perhaps you could provide it?
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Beyond that, what rhythmic possibilities in a finite composition have not been at least outlined by now?
I don’t know the answer to that, so if nothing else, that ignorance tells me that there are still areas of exploration. But some things do suggest themselves: Midi has taught us that the rock steady percussionist is boring. We also know that micro variations in the beat affect the feel. We also know that a a progressive change in the beat also effects the feel. Yes, these possibilities have been tentatively explored, but explored in depth and exhausted? I don’t think so. So, can we start really exploring the possible avenues? Can we start creating complex tempo maps, and creatively integrate those maps with harmony and melody? Again, I don’t know the answers, but for me, the questions exist.
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What harmonic ones?
Well again, with a given 12 note scale, we have over a possible billion “chords” and their inversions. I’m not sure how many chords you’ve used Tom, but I use nowhere near that figure.
Referring to Ian’s “pleasant sounding” suggestion…I disagree, “pleasant sounding” is even more boring than a steady beat. Tension and release are the keywords here, and those unpleasant chords are one of the keys to tension, and it’s those unpleasant chords that make the resolution to an otherwise boring CMaj into a thing of beauty.
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What melodic ones
Well, if you allow me multi-layered melodies, then the same answer as above, but multiplied by n factorial (where n is the number of notes in the composition).
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I’d argue that the outline is enough to judge the whole sufficiently to justify the conclusion that the art is dead
Ok, again, I’d be interested to see your proof of that argument Tom. I agree that all these areas have been explored, but, have they been explored creatively with musical genius? Many experimental composers have tried all sort of weird and wonderful things, but to me much of it sounds like crap; it’s all intellect, and no feeling.
Not that intellectual music is a bad thing, but it’s just one of the realms of music. There’s much more to music than just “Bach talking to God in mathematics”.
I fear you are suffering from old age Tom
, the “been there, done that” syndrome. Trying living with an Amazon tribe for a few years , indulge in their rituals and their particular variety of soma, then follow the flight of your soul as the drums carry you to new horizons…or summat like at anyway.
In other words, instead of searching for new music, how about searching for a new Tom, or at least, a new perspective anyway.