Compose a 2-part Funk Ostinato

Following the four models we examined in class last week, compose a pair of lines designed for maximum structural funktion of your beat-class sets. The compositions should be about 4 bars in length, with significant (but not total) repetition between the first and second pair of bars. 2-bar compositions are also acceptable, if they involve 16th-notes and aren’t too simple.

The only other requirement of this assignment is that there be two examples of one TnI beat-class set-class, appearing in two different transpositions (or inversions), in one of the ostinato lines. In other words, a particular rhythmic pattern of notes should appear in one metric position, and then also in another, contrasting position, within the same line.

To write a line like this 

1. Use your instincts about a rhythm that feels good, and then
2. Find 3-5 of the notes (any set, even if it isn’t a musically obvious grouping)
3. Analyze the bc-set that it forms. Then
4. Place a transposition of that set (preferably one that shifts weak notes to strong and vice versa) elsewhere in your 2-4 bar line. 
5. Find a creative way of linking the two instances of the pattern, and connecting them melodically. They do not need to make use of the same pitch-classes.

I mentioned two other things to consider, either of which will earn you extra credit.

A. Find a pattern with a mod-4 interval vector containing 0 elements in the i.c. “4” position (i.e. 1110, 1320, etc.) it appears that John Coltrane, James Brown, George Clinton, and Mishell Ndegeocello favor sets like this, so maybe they’re onto something.

B. Make the interaction of the lines semi-independent. That means give them a sense of separation and digression from one another, but not complete independence. Find a way to confuse us momentarily about which line is which.

Comments

[Mazera Cox]

Hey Ben I'm catching on finally! Things are getting better for me. Thank you! I have lots of homework to give you on monday! I'm so excited :)

Mazera

[russell]

I am a little confused with the term Mod-4, and the i.c. positions. in your examples "i.e. 1110 1320" do the numbers pertain to beat classes? What i mean is, does 1320 imply there is a beat on beatclass 1, followed by a beat on beatclass 3, then 2 then 0? I think it would clear things up if i could see how either 1110 or 1320 looked on paper, with music.

thanks