I was recently listening to a lot of music composed with samples, and I found myself wondering if composers are being “led to” certain ideas because they’re easy to sequence and sound good on samples.
Imagine a composer who gets up an initial sample type (such as staccato strings) and starts playing. Changing articulations then requires some kind of action. Loading a new sample, hitting a key switch, etc. So there’s an incentive not to do so. The result is, when composing with samples, we tend to write the same articulation for unnaturally long periods of time.
While thinking about this, I started thinking about music I had written over the years using different workflows. For the purposes of discussion, let’s look at excerpts from two pieces. (more…)