Note how Ligeti starts from a very low register, at a very quiet dynamic (pianissimo) and with staccato articulation (0:24). The pedal in the left hand forms gradually from a fragmented rhythm until it unfolds in a continuous stream of staccato eighth notes (0:42). Superimposed on this low A pedal is a rhythmic motif in the right hand (0:46). Ligeti shows here great mastery in rhythmic variation. This rhythmic fragment is created by accumulation and extension of a first cell which is elongated and then further fragmented in this fashion.
His yodeling obsession was accompanied by a love of obscure stringed instruments like the zither and hammered dulcimer, both of which he taught himself as a child. In his teens, Ischi taught himself to yodel by listening to Franzl Lang records and imitating what he heard. In case you aren’t familiar, Lang is one of yodeling’s most revered figures and is widely known as the “Yodel King.”
Funnily enough, the biggest breakthrough came with our approach. We are dealing with music here, not 1s and 0s, so we made the early decision to not trust the data. We engineered the user experience and worked our way back to the data. When we were faced with a problem, we looked at music theory and DJing to solve the user experience rather than rely on what the data was telling us.
I would describe Capsule as sort of a Japanease version of France’s Justice. Producer Yasutaka Nakata provides the hard-hitting techno beats and Toshiko Koshijima sings those catchy, auto-tuned vocals. Their music is often licensed by Japanese TV shows so there is a chance that you’ve heard some of their songs as themes floating around. Plus, they released their fifteenth album (!) Wave Runner in 2015, so they’ve been on the scene for a minute. While their influences are varied, they use bossa beats, British acid house bass lines, and a variety of other notable source styles, but it would be difficult to describe their music as anything but simply their own.
Modes and Key Signatures have a variety of different characteristics and are great for outside-the-box songwriting. Here’s a cheat sheet to remember them!
You can also vary the motif by lengthening or shortening the notes within it, and make it change direction by inverting it, creating its mirror image. You can add notes to extend it. And later in the song, you can even create a new motif, usually for the chorus. Contrast is the songwriter’s friend.