It's not programming, but all the stuff I'm working on right now is a kind of additive minimalism. I would say my influences on this project were Fennesz, Squarepusher, and Phillip Glass.
I play relatively simple melodic patterns, repetitively but with variations in rhythm based on additive techniques. Then, I polyrhythmically layer these patterns, add lots of knob twiddlings and effects. I like to find patterns where you can play with peoples harmonic perception by slightly altering the pattern additively. For example if you have 10 eighth notes in 5/4 that imply C major, you can add a 3/8 group that repeats the d-b-d part, and with no other change, the perception of harmony changes from an embellished C chord to an embellished G chord, and the groove changes, but the pattern stays basically the same. You can structure long pieces in various forms that way, maintaining a link to old sounds like fugue or early renaissance music (whatever the source material for the polyrhythmic lines is), and consciously manipulate form. Sometimes, I edit away most of it and just leave the few moments when the way the patterns interacts creates really interesting music. Then I drench the simple lines in electronic manipulations.
It's kinda a homebrew musical style I've been dreaming up in my spare time. I don't actually know how to play any of the instruments I am using (except keys and laptop) and I'm new to digital performer to record so I get to learn that all as I go too.
I play relatively simple melodic patterns, repetitively but with variations in rhythm based on additive techniques. Then, I polyrhythmically layer these patterns, add lots of knob twiddlings and effects. I like to find patterns where you can play with peoples harmonic perception by slightly altering the pattern additively. For example if you have 10 eighth notes in 5/4 that imply C major, you can add a 3/8 group that repeats the d-b-d part, and with no other change, the perception of harmony changes from an embellished C chord to an embellished G chord, and the groove changes, but the pattern stays basically the same. You can structure long pieces in various forms that way, maintaining a link to old sounds like fugue or early renaissance music (whatever the source material for the polyrhythmic lines is), and consciously manipulate form. Sometimes, I edit away most of it and just leave the few moments when the way the patterns interacts creates really interesting music. Then I drench the simple lines in electronic manipulations.
It's kinda a homebrew musical style I've been dreaming up in my spare time. I don't actually know how to play any of the instruments I am using (except keys and laptop) and I'm new to digital performer to record so I get to learn that all as I go too.