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Ken320

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Ken320 last won the day on August 15

Ken320 had the most liked content!

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About Ken320

  • Rank
    Seasoned Composer

Contact Methods

  • Skype
    Mr.Ken.Nickels

Profile Information

  • Biography
    The process of musical discovery is essential to me.
  • Gender
    Male
  • Interests
    Photography, reading, traveling, conversing about The Universe and the big old world around us..
  • Favorite Composers
    I have no favorite composers.
  • My Compositional Styles
    Improvisational, cinematic, experimental, methodical. genre-blending.
  • Notation Software/Sequencers
    Sibelius 7, MOTU 9.51
  • Instruments Played
    Piano and Synthesizers

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  1. Often we get inspired by composers that we like. And sometimes it's best used as a catalyst for helping us compose, as I think it is here. This sounds more romantic than either of those two stripped down composers, and that's totally fine because this works well on its own. The bald statement of the minor 9th in the opening bars is jarring, even though when it's played later on in the piece, it sounds fine because you've given it the proper context. You might want to rethink that.
  2. I suppose newer musical syntax requires a different approach to analysis. That is what I understand from what Monarcheon is saying. She's obliged to learn it if not to teach it, just to know it. You and I won't be saddled with such a chore. 😳 Personally, I don't find that analysis robs me of anything in the music. I love to analyze songs to learn the chords so that I can play it. As a practitioner I'm happy to let the spell morph into a skill. And I could listen for hours to Leonard Bernstein talk about music. But I'm dubious of music (and analysis) that cannot be explained in simple English. (As an aside, I just stumbled upon the term that perfectly describes what I was saying earlier here about opposites in philosophical debate. It's called "Coincidentia Opositorum" or coincidence of opposites, or unity of opposites. )
  3. No, I don't know Schenkerian, nor Forte. It might be fun to sit in in this class. But I wonder if it would broaden my ability to talk about music or enhance my appreciation of it.
  4. By reductive do you mean simplistic? Lacking pertinent information? Looking at the illustrations, no, they don't immediately invoke some aspect of music. But I'm guessing there are relationships, proximity, intersections and such. Why aren't basic analyses like ABA, ABBA, which could be used a conversation starters now considered inadequate? Is there an aspect of deconstruction in this approach, sort of like Derrida, who I think would say that you shouldn't read anything into a narrative. Everything must be contained on the page,
  5. Thanks for that explanation. Such analysis of alternates reminds me of two men discussing whether or not man is selfish by nature or generous by nature, and why each one is preferable to the other. And after revealing layer after layer and each side being forced to distill its own logic we come up with the idea that it is actually selfish to be generous and generous to be selfish, and that both of these coexist as necessarily so. And maybe the joke is that after all the machinations, it really doesn't matter. Aside from the analysis, I understand that the musical goal is to avoid the ego and substituting various systems in its place. And that the result will be, if nothing else, fresh and without precedent. And I am reminded (again) of the film maker David Lynch, an intuitive artist in process, who is often imitated, but never duplicated. Because his films are so puzzling, people are always asking him, "Why did you do this or that is your film?" And it could be anything. A frenetic scene, or something frightening and filled with anguish and mystery. And he just says, I thought it was beautiful.
  6. I think it works as a whole in terms of sounding like Haydn. Because when I think of Haydn I think, Bow and Curtsy dum dum dum. All the cadences tied up in a nice little bow. Congrats! You've done all that. However, the counterpoint could use some work. It's unclear because the scalar sequences don't have proper tonic-dominant grounding in their "journeys." Only vague hints. I felt that you might be trying to avoid the necessaries in order to sound modern, and were braking counterpoint rules to do so. Stravinsky it's not. In fact you may be working against yourself by not doing enough of the basics here, because the style is very circumscribed and you're kind of stuck with it for now.
  7. I always enjoy your pieces, Sojar. They always sound masterful and complete in that I wouldn't add anything or take anything away. When you say fresh I might think "something not done before" or " something good that really works." I put this in the latter. Is that why you say that this idiom is strict? It seems to me that anything not de-constructive is difficult to sound fresh.
  8. Yes, I think so too. If only once or twice, the deviation would give going back to the melody the comfort I think the composer is after. Because as you say, the melody is very nice. But it needs an opposition to prove it.
  9. I'm interested. Why not lay it out right here? What does your web site facilitate? Collaborations between composers and filmakers? If so , how so? What mechanisms for download, sharing, etc. Thanks
  10. I am very glad that you are venturing out into using the orchestra! And so far so good! I have speculated that your compositions would benefit from just this sort of thing, to It bring it up to another level. I do hear Ives in he juxtapositions and a bit of Stravinsky's Symphony In C, which you may or may not know. It doesn't matter, just an observation.
  11. Great work. I hear familiar chords stated with sophistication and subtlety. I like the independent, almost unrelated, rhythm of the lead line. But most of all I like the equanimity of it all.
  12. Depends on the DAW. I use Digital Performer and mostly do them by hand or sometimes by phrase. Based on selections, I have functions for 1/setting a vel. 2/setting a limit, 3/ Plus or minus by percentage, 4/ raising only the lowest. Or I can draw them via a line shape tool. Straight, free, random, whatever.
  13. The phrases are unclear as is the meter. I'm not sure if this is intentional or not. Do you have the score to post here - it would help.
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