Відео

a fair few of these, not all

@@Civilizashum OK, well they are very good, well done 🙂

Very little of what I make is conceivable for live performance, to my view. The Satie adaptations are conceivable, I guess.

Ha. I have about 4 friends who'll notice this but unless it's in a specific area they're into it isn't going to translate into deep listening.

Looking at it, the average span of time on this one was 40 sec. last I looked. There is no 'music' music in the first 40 seconds, it's just wind noise slightly enhanced by wind from an instrument. I'm so far out of step with society it's absurd. CDM II is in my own view my best work so it would be sad if I cared about approbation.

thank you very much. I use the word awesome only when it means there is awe, which is quite rare compared to the current level of usage of the word which almost renders it meaningless.

The sort of Coda to the thing, the 'et post' of terminus ad quem V is to me shocking/amazing, like 'who did that?!'...

thanks very much, Andre

feeling kind of puny. I started to talk but it was weird. Since I started using Threnody Strings I want it in the track. Seems almost infinite. the thing at the end, this glistening rain like the most magical cymbals ever, like left top corner are way up there, Y controller at max. I love this kind of thing the most, taking orchestra and deconstructing and reconstructing; here strings orch, in Thrill it's wind and voice I'm looking at.

thank you

I think of the movement in this as weather fronts and climate shifts. There is a particularly lively thing coming out of Thrill. It vibrates but it's not a mechanical but evolving or organic feeling.

"Where is the orchestra hiding." I learned a new word, "acusmatics" which means you hear it but have no idea from where. Basically.

and yet a chill runs down my spine that cannot be stopped and turning into madness scream all of me out, to love on, after I have gone. Terribly uncivil

landing is the hard part

Hi. @4:19 the _limit up until which_ was reached. That ww/brass line came out of nowhere, then the upright bass lines. The statement sat there a minute; I was tempted to "get serious" & develop it, but the line did not facilitate imitative counterpoint well, while freely improvising *was* happening. But after the 4th iteration it was time to exit.

@@Civilizashum It's as if you've first set a scene, and then something takes place there. The end came off to me both like jazz from a dystopian future AND, oddly, something of a relaxation of all the tension prior. A spark happens with the future brass, and then it settles into that jazzy thang. Ends perfectly!

@@edwardgivenscomposer thank you. The final section kind of obliquely calls to "The Unanswered Question" idea.

also, being a passacaglia it's like an ancient future courtly dance

@@Civilizashum I could cut a few capers...

Actually everything I do starts with improvisation. Here the whole first or "A" section was done left to right "through-improvising", having picked some instruments that seemed to work together for the effect without too much worry. Of course the subsequent 'beat' sections (here "C") are constructed and thought-through. "A" was weird because it seemed to work without tampering with it, it sat there for a while as I was skeptical. I did need to live with it a bit. As to Ligeti, a huge influence on me but I have ways to create the micropolyphony and such very easily as opposed to the incredible amount of work it was to get it with all the large choirs, let alone the things he had to do in development, such as cutting up tape into minute grains* and combining onto a tape, re-recording it; today we reach for a *'granular synth' or something like it.

the new statement came out of nowhere from a move in the winds and brass patch there that came out of a movement of the X/Y controller (the Y dimension = more harmonic complexity and timbral intensity, X morphing low winds to brass), a total surprise & very compelling so I went with it, creating a theme in the upright bass out of the brass harmony, which demands development (canonic or quasi-canonic to begin w., and free counterpoint). The tune before it seems to lend to insertion, of some mutation of it in the linear texture.

​​@@CivilizashumI don't know if I may have already said this but I've always enjoyed the way you punctuate with the percussion and staccato moments with a really efficient use of statement, and the way you apply it, both to create interest and I think it's very tastefully done how it creates a contrast with the harmonic background and the sense of movement. I hope you don't mind me sharing my perceptions. I am a percussionist but I have always thought of myself as a composer. I made a comment last week about Ligati and I wanted you to know that the reason it reminded me of Zappa is because the woman who directed the entire ensemble was brilliant. I believe she's a soprano but from what I saw, her timing is impeccable, and she conducted the ensemble with an extremely high level of musicality that really brought Ligati's piece to life. I will listen again after you've had ample time to develop and reflect but I feel your piece already contains the seeds of the development that you are probably (hopefully working on now), and I just wanted to say I can feel the energy of the piece and it's going to be great! I might plug in my synth that has the x y, to see how it manipulates orch timbre. It's been a while since I even attempted to balance counterpoint and I know the process can keep one up until the sun rises! Remember to rest between your strongest efforts. If you are like myself, I used to forget to take a break on larger endeavors and alternatively I remember dreaming that I was still working on something while asleep. The focused mind wants to complete the process and some take years, some months, even a week is never enough for proper treatment of orchestration. 🌞

I now have more, and it could be considered completed but like the first section I have to live with it to see if it should go somewhere else. That bass line comprises a passacaglia and different things happen in response to it. My experience is I don't 'write' successfully out of imagination using notation (or the 'transcribe some idea in my head' is just too slow a process) but I play something, if in fits and starts. It's tactile and immediate. Stravinsky said he need to 'touch the notes'...

thank you

in fact if it means anything it would refer to the music and remembering Debussy, music I shouldn't know how to do but came to the fore unconsciously. I have a vague recall of not immediately remembering what the title originally was attached to after deciding to use the phrase. I may have been trying to remember "Remembrance of Things Past" and this is all that came.

some of it is a bit melting clocks anyway, though

from 1:47 or so I'm also getting some ocean, and fitful slumber. Jamie Muir on drums punctuating splashes of near consciousness while Dali nods approvingly and sharpens his brushes...

lol same

Glad you like it, thanks for saying so. I’m still conflicted about it; I stole the main line from Infernal 2, pasting parts in. I did new drums, & I took it where it needs to go. I considered this unfinished, but the things I’d’ve done wouldn’t necessarily be better.

@@Civilizashum I believe Picasso said that one is never finished with a work of art. It's more like - when is it done with you? Makes sense because your own context is always shifting. It's hard to let go sometimes as well. Again - cool piece!

it isn’t mine to upload; except for this, which is named after me because it’s my DX7 patch. This is way before mp3 or mp4, or UA-cam.

Amazon has it for a mere $149.95 :D

Ha This is from Roger Corman's "The Wasp Woman". She's loaded on the wasp serum or something and by this point is full-on wasp that has to feed on human blood. Which makes absolutely no sense. It's a truly dumb picture but the cinematography and especially the lighting is absolute top notch. I somehow had found a really good print of it. I can imagine David Lynch noticing it and inspired by it.

@@Civilizashum Funny how that is. Ed Wood could light a set pretty well. Horrible script writer...