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Gylfi last won the day on March 10

Gylfi had the most liked content!

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About Gylfi

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    Intermediate Composer
  • Birthday 07/02/1993

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    Johann Sebastian Bach
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  1. Well, a formal Italian name for it might be something like Canon alla quindicesima al rovescio (canon at the fifteenth/double octave in retrograde?), but don't quote me on that. See, it is a type retrograde canon but the two voices inhabit different pitch spaces, so it is not the same line played in retrograde (which is the definition of a crab canon). It's illusory because the double octave just happens to go by the same name, if it were a canon at the sixth you would probably not call it a crab canon.
  2. What you say is not factual and is based solely on your opinion. The crab canon draws its name from the way crabs normally walk, sideways. In other words, the only operation performed on the principal line to derive the follower is reversing the direction of movement. The canons you described are different types of canons which also happen to apply a retrograde operation. Consider for example that a closed three-part canon at the fifth is not a type of round even though it uses an equivalent procedure. If you don't accept this definition of "crab canon" there is nothing more to discuss.
  3. Sorry, this isn't a proper crab canon. The comes is supposed to be derived from the dux only by retrograde. That way, there is an axis exactly in the middle around which the whole canon is symmetrical, and the voices switch roles - the dux becomes the comes and the comes becomes the dux (here they are separated by two whole octaves). Both voices also usually start simultaneously, although that is a stylistic matter concerning the performance and doesn't really affect the composition as such. In this case, the canon is not correctly conceived though.
  4. No, it's not. This is arguably the most key concept in stochastic and aleatoric music. In an abstract sense, there isn't even such a thing as total indeterminacy. Consider the meaning of the term - the absence of determinants of any kind. In order to achieve that, the work may not be explicitly presented as music, or any other kind of art form, it must not be presented by anyone to anyone, it must not bear any sort of title or have any ideological connotations, it must contain only random data unfettered by any limitations of medium, or of time and space. It cannot even be a work in general, because that already determines a great deal. Really, it is ridiculous to even acknowledge the idea of total indeterminacy, to attempt to realize it is impossible. So what's the logical conclusion? That nothing is totally indeterminant and "indeterminacy" really refers to level of freedom in the composer's hands. Therefore, you can have things which are more or less indeterminant, and you can control said indeterminacy. This is a key concept in stochastic and aleatoric music, and it is crucial what parameters you decide to leave to chance or performance whim - if you leave everything up to chance or do not take the process seriously you are engaging in a mundane type of compositional masturbation which is all too common with aleatoric types. In practical terms, both highly indeterminant music and highly determinant music is devoid of meaningful information - there is either too much or too little information and it becomes static and lifeless.
  5. There's not much to say about this piece, it is a three-part fugue with modest pretensions in that sweetest of keys, D minor. Like my canons the primary material is derived from encoded names in mod-7 form with free accidentals.
  6. Sorry for going off-topic, but I really love this moment in the first movement of Vivaldi's recorder concerto in A minor, RV 445 (I think played on a piccolo here): I have no idea how this guy does it in one breath.
  7. Don't worry so much about this stuff for the time being. The questions you ask are basically meaningless because they are based on a lack of knowledge - in the same way the answers you get will be mostly meaningless to you because you have neither a map nor a compass. If you don't know where you are or where you're going, not even precise coordinates will do you any good. To put it another way, you have just fallen headfirst into the ocean, the first time you have ever become immersed in any kind of liquid. Surprised at this upsetting and awesome sensation, your first thoughts should not be: what is the liquid's viscosity, what is its buoyancy, what is its chemical makeup, should I swim using a backstroke or a breaststroke? Relax… try moving your muscles a bit, observe the liquid's texture and taste, allow yourself to be intoxicated by the weightlessness. After that, go to a local swimming pool and try swimming in chlorine water. After that go swim in a freshwater lake. If you're adventurous, swim in quicksand. Make a pilgrimage to the Dead Sea. Only after you realize what water is at its core, by progressively comparing the different manifestations of it until you arrive at a reasonable lowest common denominator, can you even begin to understand questions about the nature of liquids. Read as much as you can, talk to as many musicians as you can, don't be afraid to make a fool of yourself, most importantly: listen, listen, listen. I hope my meaning wasn't confounded. I have a sickness.
  8. fall

    I agree. December is going to be a pretty brutal month for me so surprise entries are not appreciated. It doesn't matter if it is six minutes on the dot, in the process of carefully considering any piece there is a certain degree of minimum investment, kind of like how if you call out a taxi to drive you only a single kilometer you still have to pay more than the normal rate per kilometer. It's no problem to speedrun review ~12 pieces in a single day, but if you are doing it well even one piece can well consume the better part of a day. So, you can imagine that if you have planned your reviewing sessions in such a way that you can finish everything on time without it affecting your other duties, an extra piece right on the deadline is going to shave time off other reviews. I don't mean to make it sound like a chore, it is no problem at all to take time away for this, but I think a deadline for entry is a great idea.
  9. Don't you mean /æ/ instead of /ɐ/? My only source is Wikipedia. Nice catch nonetheless, I suppose what I mean then is /a/ in American English.* Just open your lips, relax your facial muscles and tongue and vocalize. I thought it was fairly universal, being arguably the most natural vowel. /æ/ is not that far off, but the effect is not intended to be contrived in any way. Just "ah", y'know? * If that even means anything. I'm having a hard time finding a language that has the "a" sound I'm referring to, save for Icelandic. Just a relaxed and neutral "ah".
  10. I have no objections but I would like to respond to some minor comments here if that's okay: danishali903: The work is incomplete and therefore doesn't really end, so I don't find that surprising. Sojar: The chant is not a tenor solo. johnbucket: It's /a/ - all of the text outside of the chant is IPA for Received Pronunciation. Otherwise, congratulations to Ken320 and to everybody, this was fun.
  11. Hi, here are five canons that I wrote as birthday presents for friends over the course of spring. Please excuse my performance, as I'm not really a saxophonist, nor a violist, nor a singer (I am amazed at how well the canon I composed for myself went though, as I only started rehearsing it the night before).
  12. I'm not a Shakespeare scholar, and did my best in interpreting the text with the limited knowledge I have. I would be glad if you could elaborate. Amen. I must admit that I myself have become somewhat poisoned by listening to the playback too much, but "tightly prescribed declamation", if you are referring to the beginning chant, is not at all the point. In fact, it should be free like the music it is referencing, as I outlined in the program notes. So, while it is certainly charming to have a merciless barrage of eighth notes with the text and the odd quarter note providing syncopation, that wasn't quite what I had in mind originally (although it shouldn't be so free that there are made up rhythms). Thanks for the kind words, all. I hope you forgive me for refraining from commenting on your works, as I feel it is not my place. I may leave a comment somewhere down the line after the dust has settled, but it is a matter of principle for me not to critique, even if positively, the works of my colleagues.
  13. Like a suite of dance music forms which are not based on dances. Talk about abstract… By the way, this is pretty interesting, it's dance music played mostly by a chamber ensemble:
  14. I have a question; when you were deciding upon accidentals for measure 41, did you ask yourself: "To ♭ or not to ♭?"