d1
$ note
((scaleP scalePattern
$ off 4 ((+ 2 ).slow 2)
$ off 1 (inversion.slow 2)
$ off 3 (inversion.slow 3)
$ off 1.5 ((+ 2).rev.slow 2)
$ generateMelodicSeed
))#s "[pe-gtr:10,midi]" #gain 1 #orbit 0 #midichan 1
d2
$ note
((scaleP scalePattern
$ (rotR 3.5)
-- $ inversion \n
$ (+ slow 8 "x" <~> ((0.5 ~>) generateMelodicSeed))
-- $ slow 2 \n
$ generateMelodicSeed
) - 12)#s "[pe-gtr:9,midi]" #gain 1.2 #orbit 1 #midichan 2
scalePattern = slow 16 ""
d1
$ note
((scaleP scalePattern
$ off 4 ((+ 2 ).slow 2)
$ off 1 (inversion.slow 2)
$ off 3 (inversion.slow 3)
$ off 1.5 ((+ 2).rev.slow 2)
$ generateMelodicSeed
))#s "[pe-gtr:10,midi]" #gain 1 #orbit 0 #midichan 1
Through Composed Form
When a piece of music is through composed its form does not contain
repetitions. In pop and folk songs this allows for internal repetition
of musical ideas but not for repetition of whole sections. An example of
a through composed form would be the following: A-B-C-D
Some songs with through composed forms: Bohemian Rhapsody by Queen In Dreams by Roy Orbison Sicko Mode by Travis Scott Paranoid Android by Radiohead
Through composed form can give a track a dreamlike sense of wandering. Each section is like a scene or a room, different from the last one, but similar enough to be familiar.
My favorite through composed songs make heavy use of internal repetition for at least some sections. If both the form and the musical ideas float, its too much floating for my taste.