Iain Cameron's Diary
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2005-02-15 - 12:31 a.m.
Mildly convalescing still - it seems too cold to go out. Tomorrow I will go down to Oxford and meet Laurence and try to avoid spending any more money on books. Today I did some more hip-hop mixing - around yet another 5ths idea - just a simple jump between Cmaj7 and Am7 - both of which are made of two fifths - one just a step away from the first. So its possible to get between the three harmonic poles:
Fm7 Abmaj7 Am7 Cmaj7 Dbm7 Emaj7
Between each chord there is a common interval of a fifth - in fact its one long chain
C/F moves to C/G which hold for three chords then moves up a semitone to Db/Ab which expands to Ab/Eb which holds for three chords and then moves up a semitone to A/E a and shifts to B/E which holds for three chords and goes back to the beginning. Itís a kind of canon.
Anyway that became a kind of background drone - with various timbral episodes and I started to fit some hip-hop beats and episodes to it in E-jay. It emerged as a sort of incidental music. There is a germ of a sequence of events - a musical idea - then with hipphop episodes added and then images. I think the first short story maybe at the point where I can leave the images in place. If the images have any reference then its probably to post absex - the point at which pop and absex begin to mix.
I decided there is a powerful melancholy in Nitin Sawnhey that can be quite overwhelming.
About Maiden Voyage - its rooted in the first bar - or the step away. The riff is about stepping away from a foundation - up a minor third in Dorian groove world. And in the bridge takes that whole stepping away thing and takes a step away with that.. So when the step inside the step happens in the bridge the line changes to emphasise the distance. But at the return to the home key at the end of the last eight it appears as a step and not a resolution. The best I can make of a resolution is the relative major of the Db m7 - Emaj 7 going to an Am7. But there isnít really that much pressure - and anyway the constant move in the riff into flatter keys doesnít really prepare you for a dominant. So the home only appears when you return at the start. This is not the same as returning at the end - at all - which is what songs usually do. Inevitably the piece tends to fade out.
Itís a step on from So What which has broadly the same structure - the semitone upstep in the bridge for example. But in So What the riff is a tone step-down which has more inherent stasis. MV is always moving on - and occasionally you realise that you have moved in a circle.
I am reading the Kitchen Poems as poetry- as sound structures.