Part 3, applying functional programming to make dance beats in unconventional time signatures.
What that means for you humans is that the drums, bass and keyboard parts are all created using formulas rather than playing the actual notes.
The result is that "weird" rhythmic ideas are a snap to execute, free from the limitations of normal drum machines and grid layouts. You'll hear some beats in 3, 7, 12, 15 etc with a couple of cello parts laid on top so that it doesn't all sound like robots.
"Trio" in this context means that there are three passes: once with the computer and then two live takes followed by minimal editing and a mix.
Thanks for all your support for this project, it's been fun and tremendously rewarding.
Programmed using TidalCycles.
Thank You to Kerri Kelly, Chris X. Walker, John Kimock, James McBride, Todd Reynolds, Bronwen Exter, Rachel Ferro, Pat Evans, Mark Piechota, Tom Exter, Kathy Exter, John Santana, Justine Santana, Natasha Piechota, Craig Evans, Logan Evans, Willi Jones, Tamara Fuller, Mazz Swift, Keith Robinson, Laura Razzano, Damon DueWhite, Adam Faulk, Show Tyme Brooks, Jonathan Duckett, Rachel McIntosh, Gaby Kerpel, Tiki Cantero, Bret Mosley, Kendra Kreutz, Brian Tate, Seane Corn, Al Corley, Cassondra James, Stacy Penson, Frank Pavlick, Mariano Zelada, Daniel Rosenzweig, Stephen Randolph, Sharon Mashihi, Karl Linder, Shon Tomlin, Aaron Gilmartin, Steve Kimock, Bobby Vega, Jenn Kimock, Ed Marshall, Warren Moe, Alex McLean & the TidalCycles community, the Play It Like It's Music community, Chris White, Eugene Friesen, Hank Roberts, Emily Hope Price, Ro Rowan and pioneering cellists everywhere.