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BLOCKS
Maybe this is obvious, but lets look at what
DJs have to work with.
1: The irreducible minimum is the
one single cut. You could do a
show where you played single cuts,
coming on the mic between each one.
Might make sense for genres with
very long pieces.
2: But for the DJ, the creative act
really begins with the number two:
the segue. It's an art of transitions.
TRANSITIONS
3: To do something with a
structured sequence of music
though, it helps to have three.
Two points determine a direction,
and the third establishes the
change in direction.
My thought was to mimic the
"tension-release" curve of
literature. So the first two cuts
would establish a conflict, and the
third should give you a feeling of
resolution, of closure.
Sometimes, this just means the
first two tracks I play would be
dark and/or noisy, and the third
would be more upbeat or poppy.
In the ideal case though, the third
track should provide a real answer
to the problems posed in the first
two, a resolution of the conflict.
One of the characteristics of art:
multiple constraints satisfied simultaneously.
plot and character.
meter and rhyme.
rhyme and reason.
sound and meaning.
4: More recently I've gone to four song
sets.
Just one extra cut, but there's so
much more scope.
It allows the opportunity to borrow
structures from simple rhyme schemes: ((Expand on this.
abab, abcb and so on. Connect to musical genres,
Genre definitions. Indust/Folk
And in a weird way, putting togther Manifesto?))
four songs on a theme can actually
be easier than three. I guess I won't try to
explain how. Yet.
45. The forty five minute set, typically
around 10 to 15 cuts. This provides a
tremendous amount of scope... Though come to think
of it, I've never tried
THEMES to use a really long
struture, in analogy
of a sonnet's rhyme
scheme, for example.
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