59545
Link to Round 3 battle page: http://bitpuritans.eu/arena/battle.php?id=19
...also sample 27 appears to be missing (unless there's supposed to be a gap there?)
Also I shoulda given the_trial.it a much higher score, because holy damn the rhythmic paradox that starts around pattern 9 onwards is one of the most genius things I think I've ever heard in a s3xmodit mania compo (regardless of whether it was intentional or not).
I say "rhythmic paradox" because: for the first 8 patterns, the first beat of the bar can be heard as starting on row 8 of each pattern (with row 0 being an "upbeat"). At pattern 9, strange things start happening: every time I listened to this entry, some kind of displacement happens *somewhere* and I start perceiving the first beat of the bar to start on row 0 by the time pattern 10 comes around, despite no evidential change in the metre of any of the other parts (percussion, melody or chords). I think the blame lies with the bass, in that it is phrased in such a way where the highest note falls on what *was* the perceived 4th beat of the bar, creating a kind of "accent." This made me doubt my perception of the first 8 patterns; although I was hearing the first beat of the bar as falling on row 8, it is actually written on row 0. Thus, a paradox is created: the first beat of the bar is on both row 8 and row 0 (sorta similar to what happens in Stravinsky's L'histoire du Soldat where there's a bar of 5/8 at the start yet everything else plays in 2/4 except the trombone). A "snapback" happens on pattern 11 (as we get the opening "upbeat" in the bass as heard in the introduction), but again it's still ambiguous as to whether the first beat of the bar lies with row 0 or row 8.
I thought this was a clever bit of writing in its own right, but it especially works with this entry because, combining it with the whole "trial" theme and the piece sounding like detective/mystery solving styled music, I can imagine a debate between like two teams of people as to where the first beat of the bar is *really* hiding. This conflict is further amplified by the increasing dissonance in the chords towards the end of the piece.
Idk if any of that made sense; I just want to give uctumi a big ol' pat on the back because I loved that entry.
EDIT: Actually having further listened to it I'm more inclined to believe the melody in pattern 9 is also responsible for the "displacement" of rhythm... the bass contributes, tho merely as more of an accomplice to the melody's misdeeds... damn, I am going to be studying this one for some time
EDIT 2: I guess a better way of writing the paradox would be to say: the first beat of the bar lies on row 32n or 32n+8 as we are in 4/4. One way to better understand the paradox would be to listen to the entry from pattern 9 and pattern 13 and then compare it with the start.
To me, 9/13 sounds like it's an onbeat from row 0 right off the bat (which I don't hear at all if I listen to it from the start... or even pattern 8/12 for that matter).
...also sample 27 appears to be missing (unless there's supposed to be a gap there?)
Also I shoulda given the_trial.it a much higher score, because holy damn the rhythmic paradox that starts around pattern 9 onwards is one of the most genius things I think I've ever heard in a s3xmodit mania compo (regardless of whether it was intentional or not).
I say "rhythmic paradox" because: for the first 8 patterns, the first beat of the bar can be heard as starting on row 8 of each pattern (with row 0 being an "upbeat"). At pattern 9, strange things start happening: every time I listened to this entry, some kind of displacement happens *somewhere* and I start perceiving the first beat of the bar to start on row 0 by the time pattern 10 comes around, despite no evidential change in the metre of any of the other parts (percussion, melody or chords). I think the blame lies with the bass, in that it is phrased in such a way where the highest note falls on what *was* the perceived 4th beat of the bar, creating a kind of "accent." This made me doubt my perception of the first 8 patterns; although I was hearing the first beat of the bar as falling on row 8, it is actually written on row 0. Thus, a paradox is created: the first beat of the bar is on both row 8 and row 0 (sorta similar to what happens in Stravinsky's L'histoire du Soldat where there's a bar of 5/8 at the start yet everything else plays in 2/4 except the trombone). A "snapback" happens on pattern 11 (as we get the opening "upbeat" in the bass as heard in the introduction), but again it's still ambiguous as to whether the first beat of the bar lies with row 0 or row 8.
I thought this was a clever bit of writing in its own right, but it especially works with this entry because, combining it with the whole "trial" theme and the piece sounding like detective/mystery solving styled music, I can imagine a debate between like two teams of people as to where the first beat of the bar is *really* hiding. This conflict is further amplified by the increasing dissonance in the chords towards the end of the piece.
Idk if any of that made sense; I just want to give uctumi a big ol' pat on the back because I loved that entry.
EDIT: Actually having further listened to it I'm more inclined to believe the melody in pattern 9 is also responsible for the "displacement" of rhythm... the bass contributes, tho merely as more of an accomplice to the melody's misdeeds... damn, I am going to be studying this one for some time
EDIT 2: I guess a better way of writing the paradox would be to say: the first beat of the bar lies on row 32n or 32n+8 as we are in 4/4. One way to better understand the paradox would be to listen to the entry from pattern 9 and pattern 13 and then compare it with the start.
To me, 9/13 sounds like it's an onbeat from row 0 right off the bat (which I don't hear at all if I listen to it from the start... or even pattern 8/12 for that matter).
