Quote:
Originally Posted by thatguy
Nikolas
I just listened to this again (for the againth time) and you do something so wonderful with this piece. It seems like everyone wanted resolve to the tension, judging by the comments, but the funny thing is i didnt ever feel teh tension/resolve atmosphere of it. This piece makes me view music in such a different and unique way. I'll be honest, i didnt follow the score (because i was sick of getting lost lol), so i just sat in the dark and listened as intently as i could. I cant describe it, im not that advanced in music yet, but it jsut seemed like one gigantic coherent and incredibly clear whole. what you do with this piece i have no idea, but for some reason this piece made so much sense to me. It was very easy to view your audio painting, and im just flattered that you stick around this site (along with a few other advanced composers) to broadcast your beautiful work. yes, i do believe this is beautiful, partly because of the fact like i said that i honestly cant see a need to resolve. ya its dissonant and chaotic, but i feel the different themes you used and extravagant colors of the orchestra add to the fire, and i just couldnt stop staring. you are a fantastic composer, one of the best that ive heard.
my favorite parts were many, some that stand out though are, well, like i said i couldnt follow the score, but a little over halfway through this you had something that sounded like hasty footsteps, and ya it scared the shit out of me  . also, you quoted stravinsky's rite of spring in here..i loved it! the last i will mention is the end section, where i heard some of the most picture-esque beautiful orchestration. kudos again Nikolas, fantazmic work!!!
Vince |
Vince, (thatguy)
Thank you very much for your kind words!
It's marvelous to see your work so well received and appreciated! It makes everything worth, you know.
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I think it's time to explain in much detail the coherency that some of you hear and some of you don't!
This whole piece is based on a giant fractal starting on the very very first note and ending in the last note of the piece. No gaps, no nothing, except the small rest between chapter 6 and 7.
It is divided into 7 chapters/movements which are all played attacca (except 6-7 as I said before).
You start out with 5 notes and each chapter you add an extra note (pitch that is). So in chapter 7 you have ended in (5+6) 11 pitches. there is a single pitch absent from the whole work. There is nowhere to be found. Last chapter death ends 1/16th before the pitch should normally appear!
Now the fractal guiding it:
You have 5 extra extra long notes (sustained) in chapter one. ACEbFG# . These are the 5 pitches appearing in Birth, btw. In various durations, each of 20 something bars or so!
These notes (the durations that is), are divided into 2 and 3, each one like this:
AcebCebEbfg#Fg#G#
dA
(the d being a new pitch, introduced in chapter 2/creation)
Each note of the above is again divided by 2 and 3 and this carries on for 7 times in total.
Last chapter, death, has been resolved in continuous 16th notes, duration wise, but ptich wise it all is guided by the first 5 pitches still!
Here is the awful notes (in score format) of the fractal alone:
www.nikolas-sideris.com/oofractal.pdf . If you go towards the end (around page 17-18) and check the D (which stands for death), you should see the continuous 16ths, as well as the full score of the actual death score (orchestrated), minus the orchestration of course.
There you go, analysis blown away!
Again thank you for your post, Vince, it was great!