Transcript written at PatrickLCheatham.Substack.com, in the publication titled: Renewing & Freshening via Flaw & 'Decayotic'
Music Wording and Production
This podcast series pursues potential new production models and wording terms, in music 'Tonality theory', and in musician and listener 'Impact theory’.This initial podcast episode introduces my interest, as of now, in new styles in digital music, plus traditionally hand-instrument and vocalized music. This interest I desire to spread mildly, patiently, and often. Each musician has his or her own experiences, thus far, with study and application at the ready, so adding perspective is my approach in this podcast series. This is related, as an aside, to my personal music project and one-person band - Entropic Front. In this podcast I intersperse excerpts from Entropic Front compositions, to provide intermissions from reading on condensed personal introspection.
These my initial and tentative positions, lean toward potential newer models and terms in Tonality theory and musician/listener Impact theory. I aim to present seeds for small to great adjustment by other persons. This also allows me to leverage my time at these podcast episodes differently, which is more enjoyable for me as well.
Gradual adjustments and/or replacements in wording terms in preexisting music theory, plus introduction of production models regarding impact theory, is the result I’ve settled into, as theme.
For many of us, music theory as a body of myriad scattered roots, holds much terminology of poor wording, notation methods not updated (or integrated) for overly long centuries, and depiction graphical and other features partially counterproductive to benefits in issues psychological and practical. That effects music production styles, and music’s multidirectional sway with each of us.
Introducing Impact Theory
As a beginning on impact theory, for musicians who listen often to personally produced music, and for audience and/or consumer listeners, music lyrics matching vocals, and also song/track titles, read by each listener during selection of music before listening, are of one trait that no other form of art, science, or production matches: repetition. Repetition is greatly involved, during days, months, and/or years after release and distribution of compositions.
Rigorous boilerplate techniques for matching production tailoring impact to this repetition component to music songs and tracks are not advised by me, especially for me to apply in my music. Personally evolving processes of flexibility in performing reapproaches before release and distribution, or with internet means, even after initial release, can benefit many of us. Patent advice to sleep before revisiting personal appeal at music titling and lyrics, if begun with, is too rigorous in time durations involved, as are most slogans from childhood memory. Even with humor, if such summarizations are introduced previous to, and thus predominantly, via old slogan quick-summations, such is the initiation of sequences between persons begun minding less than a more full gamut of time durations at which inspiration could occur. Very short to longer time durations avail, for personally revisiting words selected.
Typing word sequences, to include those formerly typed long previously, avails us of more than preparation for reading, while not touching typing keyboards or using device gestures. Both modes are of value, and produce reviewable notice of personal undercurrents, which is then better fathomable for edits, while still favoring some or plenty of features of earlier personal selections as to wordings.
Rather than summarize, in lesser count of words, a technique I’ve settled on in my instrumental tracks having no vocal content, is selecting one or two word titles for songs/tracks. These words or word pairs are far less pivotal as such, and if by other association to other singular wording or pairs of words, even then perform better via allowing readers and listeners other quickly-worded styles with which to relate, and so are less subtly-poignant, upon repetitions in reading titles or lyrics, when readying to hear the music. The technique, if limiting, is also a default for consideration, among other greater variety of compelling options.
End of narrative, for episode 1.
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