Acquire another composer and integrate their work into yours.
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Acquire another composer and integrate their work into yours.
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Sample one bar of music and, without changing the sample, build a new composition around it.
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Find better excuses for not composing any music.
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When designing sound for film, use every foley sound twice: once where it belongs and once – before or after that – in an unexpected, strange place.
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Write the program notes for an imaginary concert.
Include notes on each piece, biographies of composers and performers as well as all other necessary information such as date, time, sponsors, organizers, and so on. All info must be completely made up.
Then compose the music.
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Write a melody in future perfect tense.
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Simulate music.
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When working with a MIDI track: duplicate it, including all MIDI information, instrument and other settings.
Select three pitches, either randomly or by ear.
On the first track, delete all the notes with the chosen pitches.
On the second track, delete all notes except the ones with the chosen pitches.
Subtly change the instrument, effect or other settings on one of the tracks.
Repeat the procedure for every voice in your piece, making new pitch selections and applying different parameter changes for each track.
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Befriend both artists who are much older and much younger than you.
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Dance on the inside.
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