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Ken320 last won the day on November 1

Ken320 had the most liked content!

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About Ken320

  • Rank
    Seasoned Composer

Contact Methods

  • Skype

Profile Information

  • Biography
    I studied percussion, piano and music composition at Roosevelt University in Chicago, where I got my B.A. Now I am composing full time. I have experimented a lot with synthesizers and sound design. Though I still use sound as a thing in itself I find myself working more and more with basic musical ideas that are used to elicit emotional connections in people so that the work may be remembered. I am not a fan of deconsructive music though I appreciate the efforts. I usually find it forced and uninteresting. I am more of an eclectic artist, relying on intuitition and the creative process to yield results. The process of discovery is essential to me. I like to work on longer forms now because that's what I think will UP my game.
  • Gender
  • 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

Recent Profile Visitors

8,290 profile views
  1. Interesting. Do you see yourself growing out of this style someday? Is it part of a continuum or are you set, as it were, for life? Are Mozart and Beethoven the only thing you listen to from the repertoire?
  2. Ken320

    When do you get melodies?

    1. I may get a melody while working on trying out many melodies, but if it's any good it only comes on its own accord. 2. Almost never, the little buggers. 3. Steal one from someone else.
  3. I agree. He could have stayed on the lazy/elitist/disigenuous points. But apparently he's other gripes. And also, he's a 'personality' selling content. Personally, it has taken me a long time to realize, without guidance, that experimentation is only as good as my ability to assure a coherent payoff. Still, with the odds being low, I champion experimentation, as you do.
  4. In that vein, here's an explanation of the subversive aspect of modern politics that inserts itself into art. I just now came across this. https://youtu.be/PRWJcrRO0GM
  5. Thank you very much, Luis. It really makes a difference to see and hear everything together, doesn't it? The Chinese dulcimer helps it sound exotic in addition to the minor modes and diminished scale. The last cue is the most tender of the music that imparts the puppets with a little bit of humanity. You can still find the original score on youtube. I'd be interested in your opinion on that.
  6. I agree with you about the ideals of Modernism.They were clear enough. But I'm not sure that Postmodernism had an ideal to begin with. It's unclear whether Postmodernism is an extreme continuation of Modernism or a repudiation of it, so says the article. By politics we don't mean "parties" or platforms, right? But more of a pressure to conform to an external will. Because why would we compose music if, in the end, it didn't conform to something? Something already established. However, the question remians - who's will? And what for?
  7. I don't disagree with anything you said. But I want to add that Modernism can easily become a neurosis when it supercedes other concerns. Like when a composer, of any age, neglects dramatic arc as you say, or any of the many things that make music music. Then the music can become sterile and dull. And part of this neurosis is driven by politics, which I've suspected for a long time. I mean the broad, insidious kind, like political correctness - but only for music. It can affect anyone's judgment, young or old. Btw, did you read the article I posted on Modernism and Post Modernism? It's a good read.
  8. Hello YC, I posted this music before but without the video it is meant to interpret. I am happy to be able to provide the whole experience now. This animated feature by the Brothers Quay is something I always wanted to score. The original score is by Leszek Jankowski, which I replaced and added FX's and foley sound to. I hope that you like it. https://www.facebook.com/100000289764062/videos/2268723976480572/
  9. Really good stuff, you are an awesome composer. Do you have any recent work you'd like to share?
  10. I'm very sorry to hear that you cannot afford a piano teacher. Because that's probably the only one that will be in a position to help you, pateceramic's advice notwithstanding.
  11. I hadn't thought of that, the value of pragmatism. I'd say it's only the form of it that changes throughout the years.
  12. Sure. I should have given the question a little more thought. But I'm not sure there is a way to ask it without sounding vague or naive. I wanted to know if you think you have a style that is particularly unique within your genre. Such that when people hear it they know it's yours. Or if not, is it a goal worth working towards - if that is even possible. Composers with very circumscribed styles can be very successful, if only because they are recognizable. Minimalism comes to mind. Having a schtick helps in the commercial sense because your product is dependable and proven, like anything else for sale. Make sense? Now I was thinking about Hans Zimmer, who people have commented on right here. People seem to think that he has a style, a 'sound'. The Hans Zimmer sound. When film composers get hired the director might say, "I'd like to get that Hans Zimmer sound." But does he really have a sound? He did a couple of films like Inception and Batman and suddenly he's got a sound? But if you heard his score for "A League of Their Own" You'd say, that doesn't sound like Hans Zimmer at all. Now, when Hans himself gets hired for a film and plays his cues for the director, he might look disappointed and say, tactfully, "This is quite good Hans ... but what I'd really like to get from you is that Hans Zimmer sound." Now he must parody himself! (We should be so lucky to have his problems, right?) I am just wondering if people find the idea of being a totally original composer all important. Thoughts?
  13. Or do you feel that others feel that you have a style when you do not feel the same way? Is style just a necessary artifact of commercialism? And if so, does it enhance a composer's standing, or diminish it?
  14. Ken320

    Genus Australis

    Thanks for your comments, Gustav. the good thing about suites is that you can add more on and take some off, depending on what works and what doesn't. I think I'll replace the second movement with something more in keeping with the others. The line you quoted is a written solo line and not meant to be developed except maybe if I had a relationship with some percussionists I could approach the score more as jazz with a lot of 'ad libs' peppered all over the place with repeats, as they soloed over the chords. As it is, I should probably stick with the hypnotic ostinatos. Your comments were very helpful!
  15. Why not find some like minded muscians and start a band? I did this at a young age and it set me for life, the things I learned. Good luck to you.