Відео

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Muchas Gracias, me he inscrito en su canal estimado colega

@@DanielOliveira-yy8oj Muchas Gracias por inscribirse en mi canal

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The idea you propose is interesting. My intention when publishing my "Modal Theory" is to make composers reconsider and rethink why they continue creating sound worlds little or no harmonious... it is not incompatible your interest in promoting new composers and mine in creating a new, more harmonious musical world that the one that influenced us in general the 20th century. So I prefer to plant new seeds that can bear fruit in new composers or reform composers who are actually a bit "zombies" of the catastrophic schools inherited from the 20th century. Send me a list of those composers with few followers that you are trying to promote and I will make sure to listen to their music. Thank you

For the rest, I believe that real composers do not need large audiences, normally manipulated by non-artistic interests. If I prefer the Internet to any concert hall in the world, it is for that very reason. We, virtual composers, must have the audience we deserve without depending on other spurious interests

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You are extremely intelligent and very lucid in your analysis of the first movement of my last Suite, so you deserve a precise explanation that confirms your great intuition. If you look carefully you will see that like many of my "Enneadic-Suites" my themes are nine tones within the chromatic tridecade (old "octave"), in several of my latest Suites I have proposed to put amodal twelve-tone technyque on track within the Modal System that I have defined in my "Modal Theory" ("Temperate Modes") es. scribd.com/document/658887605/Tempered-Modes there you can practice your Spanish and you can read the New Theory duly founded, more specifically I point out on a page at the end that as a preferential and exclusive use of Enneadic Modes or Heptadic Modes you can always establish a complementarity between 9 + 4 = 13 tones (12 intervals) or 7 + 6 Tones (12 intervals), I consider within the Modality that they are not 12 Tones but rather 12 intervals and that the Tridecade is the containing interval, I do not think like Schönberg in terms of tones but of intervals and I do not think like him that the "octave" ("Tridecada) simply generates another series of twelve tones but is the interval containing the other twelve, all of this can be reported in detail in my previously cited "Mode Theory (Temperate Modes) so I fervently invite you to read it at the complete because there is no one better and more prepared to understand the modal bases that I consider to be of critical importance at the current moment to overcome a certain historical phase that I consider to be already obsolete and also wrongly founded. Specifically, note that the theme of the subject of my first fugue is 9 tones extracted from one of the Enneadic Modes mentioned, and that the following four tones that begin the countersubject accompanying the subject's response are the 4 complementary tones of total chromaticism but no longer understood as twelve-tone but as a pure modal system that I have reissued in my Modal Theory so I "tame" the cacophonous twelve-tone system with my Modal Theory. Thank you very much for your interest and for your comments.

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Thank you very much for the attention with which you follow my work, regarding your comment about the possible convenience of a contrasting movement, I must tell you that in all my production for orchestra there is no contrasting movement, it is a firm stylistic decision (I have 74 Suites of three movements without any "tempo" contrast), I consider that my music wishes not to be altered in its fluidity and it must be understood not only this work that it comments on but also all my Suites like a continuous flow with no more change than the pause between each of the three parts of the Suites, I also use the fugal procedure in practically all the movements of all my suites, I agree with you about your excellent way of ordering the musical discourse

@@rafaelg64 Understood about the stylistic decision. Just a thought.

In the third Movement of my first String Orchestra-Suite you can see a fugue over the same arpeggiated chord you mention in this comment

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Muse Sounds

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My orchestra is as far from chamber music as it is from the conventional orchestra, preserve wood and wind instruments solo, without doubling or tripling, and preserves the mass of the string orchestra, thus integrating the best of both types of instrumental ensemble, in reality I consider both the traditional orchestra unbalanced like conventional chamber formations, both my modal system and my instrumental system they try to correct the traditional tonal and instrumental bases by correcting and expanding or reducing the aspects that seem necessary to me, also the emotional, spiritual, "peaceful" aspect, very well detected by you, in fact, I believe that "classical" music is also unbalanced by its excessive changes in tempo, dynamics, etc., excessively agitating the musical discourse, that is why I do not like the "sonata" form as a synonym for "orchestral" preferring the "Suite" form not feeling any need to change the tempo or dynamics except in very subtle forms almost unnoticed, I attribute all this to my condition as a Muslim (Salam = Peace) which reflects a pacifying quality in my Music. al hamdu lillah

@@rafaelg64 Thank you for your thoughts. So more like the Baroque approach of maintaining a constant mood and rhythmic pulse throughout the piece, continued serenity without sudden outbursts of contrasting sound? I thought of chamber music because, in this work, although the combination is the same as a classical orchestra, the different sections, winds, strings etc, play separately and not in single massed tutti

@@paulwl3159 My music is essentially contrapuntal and episodically harmonic, if you observe you will see that each of the movements is based in fugue procedures which differentiates it from the classical orchestra more based on harmonic structures, only in specific cadence moments I overlap the different instrumental families, in general I use the instrumentation like contrapuntal melodic voices rotating the instrumental color like timbral variations, I am not interested in massive effects that end up devastating materially and even they distort the timbral purity of the instruments, they delegate the "massive" to the strings and I complement it with solo wood and wind instruments, in that sense Yes, one could think of a certain closeness to the baroque ensembles of concert soloists. and the "tutti" represented by the string ensemble, and you are right, yes, it seems more balanced to me, historically more "harmonious" (more "peaceful") the way of treating composition and instrumentation in the centuries prior to the Rococo period starting with Haydn. Thank you very much for your attention, I invite you to listen to more of my Suites (65 so far for orchestra) ​ Enviar comentarios Paneles laterales Historial Guardado Contribuir

@@rafaelg64 I think that you favour a vocal over an instrumental approach, in that the lines are generally flowing and even. And it seems the writing is rather spare and contrapuntal. If I may be excused a terrible pun, frugal and fugal.

@@paulwl3159 First you say that my music seems more chamber than symphonic and now you say that my music seems more vocal than instrumental... you seem to presuppose that there is a unique way of composing symphonic, instrumental, vocal... I will give you an example in Descartes' analytical geometry, algebra and geometry were or seemed to be well-defined and autonomous things but the approach in a common nexus opened completely new fields for mathematics, Whenever two apparently different things come together, they usually give rise to new forms. expressive whether scientific or artistic, more examples, Bach wrote many instrumental fugues in various "voices" but his vocal music practically lacks such fugal procedures in addition to Bach's vocal writing It is quite inadequate vocally, possessing a strong instrumental character, the same goes for Beethoven, who by the way said: "There is no rule that cannot be violated for the sake of Beauty"... I don't think there are a priori ways of how one should compose for orchestra, choir or chamber, There are many hybrid forms, what matters is that they are Beautiful. In my 65 Suites for Orchestra there are 5 for choir and orchestra, 10 for string orchestra, 1 for piano and string orchestra and the rest for symphony orchestra, several including percussion instruments, My instrumentation is inherent to my way of composing and everything arises from the same inspiration, I am not interested in nor do I consider human voices as paradigms of counterpoint, They seem very opaque to me, in addition to not being interested in the load of the text and the word, You will see that my suites for choir and orchestra treat the voices as musical instruments, and no, I do not treat my instruments as voices, I believe that the voices are subordinate to the instruments and not the other way around, I consider human voices too material, I prefer instruments, and I add that if I compose virtually it is because I am more interested in digital machines than in human formations, my music seeks to transcend the vocal, the material, the orchestral, the chamber music, the modal with my own modal system (Cf,es.scribd.com/document/658887605/Modos-temperados) I would prefer that you listen to the rest of my Orchestral Suites (all of them) and read my Modal Theory, and only later would you write to me with a deeper knowledge of my true character as a composer and theorist. Thank you very much and I hope you enjoy my Music and get to know it thoroughly, If you subscribed it would be even better because I will tell you that the set of my 65 Suites for orchestra lasts more than 16 hours of music... ​ Enviar comentarios Paneles laterales Historial Guardado Contribuir

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