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1/4 - force field, beginning to take shape slowly, will probably involve words with a sort of agricultural feel to them, a slowly building piece with a loud noise burst after the intro, then gradually turning more and more atonal. the parts for this in their correct order (at the moment) is:
intro: about two minutes of seemingly unplanned accents on floor tom, accordion and line 6 looper, using snippets of violin and metallophone all slowed down, with violins playing short bits of the first theme
loud part: comes in suddenly and subsides just as fast, guitars and drums (possibly two sets) have the lead here.
cymbal swell: a one-bar expanse on the first note of the first theme's bass (e)
theme 1/1: bass and a repetetive 5/4 metallophone, violins and drums slowly enter, imitating the 5/4 rhythm
theme 2/1: bass and metallophone continue, strings and trumpet veer off into the main theme, very quietly
middle eight: where trumpet and second metallophone/guitar take the lead for 8 bars. a sort of solo if you like.
theme 2: a lengthy chorus-ish part where the violins start on a hypnotic four note loop.
theme 3/1: bass, metallophone, strings and trumpet return, this time with added guitars and piano.
modulation: slowly pulling everything from an Am-key to Bb.
end: partly borrowing the end of the world or theme 2/4 from death suit.
2/4 - crocodile teeth:
verse: violins play the original keyboard line pizzicato, emily sings.
chorus: drums and accordion enter, and everything gets scrambled by a delay-pedal.
3/4 - death suit, starting to look very big, loud, epic and looming:
theme 1/1: one bar in 4/4 time followed by 8 bars in 3/4.
theme 1/2: or tangerine dream. violins play a two-part theme over and over, modulating between f and g# throughout. quietly.
theme 2/2: the same as above, only twice slower this time.
theme 1/3: also called donnie darko, the lead instruments are two metallophones.
theme 2/3: again, the same repeated, but with the higher-pitched vibes playing twice the normal speed.
theme 1/4: aka best of bach, strings and trumpet lead and the bass changes key over and over, always returning where it started from by the end of the cycle.
theme 2/4: end of the world, same as 1/4 but with the bass veering off into another direction and one of the violins playing a repetetive short arpeggio.
theme 1/2: back again, this time much louder.
theme 2/2: again, the slowed down version.
theme 3/2: still slowed down, but with a much simpler bass.
theme 2/1: and we're back at the beginning, this time with strings playing the first four beats of the rubato from left your marks in the sand over the 4/4 part.
4/4 - left your marks in the sand
intro: 4/4 rhythm, with double-bass and drums.
rubato 1: emily and iina sing and play a short vocal/trumpet bit here, regardless of rhythm.
verse: everything from here on is piano-led, apart from the very end.
chorus 1: understated and quiet, hinting at the second chorus.
verse 2: second verse differs only in having more trumpet, sax and clarinet.
chorus 2: strings enter here.
middle eight
vocal bridge
instrumental bridge
ending: return of the drums (and vocals).
rubato 2
5/4 - mox kow / end fights will probably be jere playing a compostion he wrote for classical guitar with added strings, trumpet and metallophone.
6/4 - meters are miles will be the ballad. and the only one we haven't really started proper work on. the ending will have the adjacent 1/4 notes though, i promise.
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