One Media® presents
"Rise"
by Nowhere Near
(a HardBop Drum and Bass Electronica Fusion streaming mp3)

"Rise"

One Media® humbly submits its Steemit Music League #smlchallenge season two, round seven (S2:R7) entry greeting you with a Good Morning Music theme...

A clipping 173 bpm, 6/8 time signature, 16 bar AABA song form that fuses Jazz HardBop and Modernism, with Drum and Bass styles resplendent in electronica in an effort to revive the creative impetus in a century old culturally unifying tradition of improvised music, a new Jazz for the Twenty First Century to appeal to both the young and old.

Electronic birds tweeting, with nothing new under the sun, yet it still greets you with warmth on a new day to make your own...

Besides the electronic birds in the solo section tweeting a "Good Morning!" to you, other elements of this tune the composer intentionally recorded to give the listener a fresh start on a new day. First the composer took the "...uptempo music..." S2:R7 prompt directive literally and decisively fixed the tune in a 173 beat per minute frame synchronized to a standard percussive loop programmed on an old 8 bit synth that produces a ring modulated tone in this case often sounding quite a bit like birds one often hears especially on sunny Springtime and Summer mornings.

Two other elements of this composition hint at "Good Morning"... The 6/8 time signature in the composers mind, is one of the most naturally swinging, moving, and motivating time signatures in music, especially in all its uses in Jazz and Blues. This time signature the composer finds most 'naturally swinging' and thus in which he can most effortlessly weave in real-time recording, the intricate uptempo percussive pattern hinting at the Drum and Bass style.

One may notice that in the Bass line, that six out of eight of the ostinato phrases are ascending. Traditionally Jazz has incorporated bass lines arpeggiating the chord progression along with passing tones, a judicious use of musical accidentals, the technique referred to as 'walking bass'. Thus at this tempo, the present piece through a Jazz idiom alludes to several western idiomatic expressions, "rise and shine" as well as "hit the ground running".

The composer deliberately fused the stylings of Drum and Bass and HardBop Jazz to appeal to an audience of all ages, as he sees a vacuum created in the last several decades caused by the flight from Jazz, a culture having disposed of perhaps its greatest (racially) unifying aesthetic tradition and triumph of artistic personal freedom, in favor of appeasing to the lack of sophistication brought about by Post Modern Collectivism starting in the 1980's.

For instance, the very act of playing a solo in Rock music and practically playing any Jazz at all has been, some may argue, intentionally gotten rid of, all but lost by agents of 'The Great Dumbing Down'. Such expressions as, 'Guitar Wankers' has relegated soloing to 'a thing of the past' and even Heavy Metal music and Progressive Rock, the last bastions for soloists in contemporary popular music, gasping for their last light of day. Thus a vacuum has formed in music around solos, as this reminds us of another idiomatic expression, "Nature abhors a vacuum."

One may argue that Post Modern Collectivism with its palpable disdain for Individuation and Meritocracy, a disdain for all individuals seeking merit through a process of natural selection regardless of which gender or any other component of Identity Politics whether in the 'noble victim class' or 'evil oppressor' based on superficial differences, not differences of character, has lead to our current social malady. Many of the greatest philosophers have noted this unquestioning deference to dogma, ideology, and authoritarianism, at the loss of any Self-agency of the individual clearly leads to tyranny and ultimately, as a preponderance of evidence provided by the Twentieth Century indicates, genocide. Thus, we all must take as our own moral responsibility to society, a self-reliant effort to individuate despite societal constraints and reasonably without expectation of help from others, to rise.

That being said, the composer would like to offer @D-VINE gratitude for her setting, in his mind, many great examples of the Drum and Bass style, without whom the composer would not have conceived of what Drum and Bass actually sounds like. In his estimation the composer regards @D-VINE as a leading proponent of the Drum and Bass genre, a fine composer and arranger in her own right, regardless of whichever 'Political Identity' with which collectivists may associate her, rising on her very own merits and character regardless of irrelevant superficialities by which collectivists divide and conquer individuals.

Happy listening!
Zig

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