#21

Those do indeed bear some similarity!
Spam grammar has improved lately so I haven’t gleaned a lot more phrases, but they do still pop up occasionally.

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#22

There’s a name right there. :sunglasses:

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#23

I, too, have a list for this reason. Titled “flarf.”

I’m also prone to titling with some variation of “first,” “test,” “new,” or a vague sonic description. “Awash” kicked around a few different hard drives, e.g.

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#24

Anyone here ever notice how much the title you give a piece of music affects how people interpret it?

For instance, if you’ve ever read someone reviewing your music, it’s one of the first things you notice, how much the track titles affect their analysis. Not a diss on anyone who’s taken the time to review my music, more of an observation on what they write about.
It’s not an easy process for me, as I rarely come up with the titles before the music, it is almost always after the fact. I tend to just let the music happen rather than deciding on a specific mood beforehand, hence the difficulty, as it is an after-the-fact analysis.

Some helpful suggestions in this thread already, I guess I’m just curious if anyone else has noticed this also.

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#25

i get a feeling in my body when i consider a piece i’ve completed. a kind of “felt sense” of the gestalt of whatever it is (track, image, prose/verse). then i dialogue with that feeling until i arrive at a name/phrase/title that elicits a sensation of “clicking”.

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#26

Largely how I approach it as well, looking for a title that feels vibrationally right…

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#27

There is so much to be said on titles. Here’s how I’ve dealt with them:

Used to be: have a temporary title, make the piece, rename the title after listening to the piece critically. The title grounds the piece. Sets a tone. I came up with titles like “To The Things That Be” and “A Call To Attention”.

Then it became: have an even more temporary sounding title, make the piece, quickly, then come up with the first whimsical title that pops in your head. The title engages the listener, surprises the listener, and perhaps makes them go “huh?”. Using this process, I came up with titles like “computer on the phone talking to his mother” and “here have some computer music you jerk”.

Now it is approximately: write the first 4 or 6 alpha-numeric characters that come to mind (really, those are fine!), and quickly move on to composing. The title is an arbitrary anchoring point for the composer. A sort of stream-of-conscious gesture or starting stroke. The title is not the sound. The sound is not the title. The sound is the sound, but it does not go by any other title. Some titles I’ve come up with this process are “tess” “chznr”, and “strz”.

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