I didn't realize that the composer for 2001 was Ligeti...he has a piece but I forget the name where the orchestra crumples paper...and I'm not sure but I think I saw a performance years ago that reminded me of Lisa Popeil singing at Frank's "ship arriving too late" period... I'll have to look that one up, but it was a very interesting Ligeti piece. Your works that I have heard thus far are of that level in my opinion. I know it's a lot of work. I myself haven't composed anything except improvisational ideas in almost a year simply due to life's demands on my free time. Thank you for sharing the development of your ongoing work as I find it inspired and I have a feeling that I am about to return to my own works in progress soon.❤
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.
I love it. Listening progress at 2:40 now and I got a Kubrick vibe from the tonality you created, but as soon as I thought that it morphed into a new section...and then it ended and left me hoping for more... I really like it and it's encouraging to hear your progress
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'...
I didn't realize that the composer for 2001 was Ligeti...he has a piece but I forget the name where the orchestra crumples paper...and I'm not sure but I think I saw a performance years ago that reminded me of Lisa Popeil singing at Frank's "ship arriving too late" period... I'll have to look that one up, but it was a very interesting Ligeti piece.
Your works that I have heard thus far are of that level in my opinion.
I know it's a lot of work. I myself haven't composed anything except improvisational ideas in almost a year simply due to life's demands on my free time. Thank you for sharing the development of your ongoing work as I find it inspired and I have a feeling that I am about to return to my own works in progress soon.❤
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.
I love it. Listening progress at 2:40 now and I got a Kubrick vibe from the tonality you created, but as soon as I thought that it morphed into a new section...and then it ended and left me hoping for more... I really like it and it's encouraging to hear your progress
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'...