The structure for the soundscapes was all intuitive. I split the recordings up into individual demo files and the made a separate line for each instrument - voice, piano, flute, recorder and percussion. I randomly placed each of these together and if the rhythms worked together it was by chance. A lot of the time the demos would be shorter and then I would repeat these short phrases which would form a rhythm with the software as opposed to practiced and recorded. I think that adding these layers in at random times makes the whole piece have a lot of depth and multiple rhythms to tune into. At first this was just an experiment to see how the sounds mixed but I actually really liked how these pieces of music enhanced the video. Because the scape is fairly unstructured, I discovered many tools and methods of giving the sound depth and variety.
THINGS TO INCLUDE:
- Quint up/down harmonies to vocals/piano and percussion
- Repetition of demos to form a rhythm
- Cross-over of 2 different percussions
- Reverb and convolution reverb on voice
- Speed up/slow down duration
- Audio gain
- Exponential fading and constant power transitions
When I first started to mix soundscapes, the whole thing changed very quickly from phrase to phrase - complying with my theme of impermanence and an unfixed state of flow. This worked well however although I don't want the piece to necessarily comply to the structure of classical music, I have found through experimenting that there has to be more of a pattern in the rhythms or a dominant instrument that people can follow consistently so that when it progresses into another phrase, it is a more clear shift to the listeners, having more impact on them than if it changed constantly.