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Ken320

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Ken320 last won the day on April 23

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

Recent Profile Visitors

10,218 profile views
  1. Mark, I can always use mixing tips because I just don't have the right critical ear for it. You mention the fadeout, which is interesting, because the piece was originally written for a strict three minute length and the fade was short and a bad fade. So subsequently I added another twenty seconds to it by way of looping the existing ending. If you listen closely you can hear the loop. You may also notice that I stole some of the chords near the end from "Where Were You When I Needed You" by Stevie Wonder. Thank you for your comments!
  2. Not bad. It has a lot of energy. What does it mean?
  3. On the joy of coffee, the composer's best friend. This is for a small jazz band of piano, bass, drums, violin, clarinet, trumpet and trombone. I may have posted this before but I don't remember and I don't see it anywhere, so ... here it is. 😊
  4. This is great and the best thing I've heard in a while. Bravo! Rehearsal time is always a problem, I guess. But you all pulled it off with aplomb. Given the skill level of the orchestra, which isn't too bad, using them as sort of simple punctuators for your solos was not altogether a bad idea. Very astute I would say.
  5. *** Your skipping rhythm at the beginning could be written using staccatos instead of alternating eighth notes and eighth rests for a cleaner score, but I know you said you wanted to clean up the score. It all sounds nice, so just reassigning who is playing what in some places may tighten it up a lot. Thumbs up! That rhythm was originally in 16th notes, and while it was "snappier" it was inconsistent with the rest of the piece. And I thought that people would see them mixed together and wonder what was I thinking, or maybe I am putting too fine a point on it (which I was). So changing over to 12/8,/9/8 and 6/8 eliminated the inconsistencies and simplified things. But as to the beaming, that I like and will keep. It's very clear! And at the tempo they are pretty much staccato. You'll notice in general the score is not overly marked up. I appreciate your suggestions and I'm going to them a lot of thought. But I think I'll move on to the slow movement for now and get a little distance from the struggles of the first one, to which I will return! Thanks!
  6. I think you're right. I should have formalized the interplay more between the two, but that's when I get into trouble. I'm kind of stumbling around in the dark here trying to bridge the past and present, or find the commonality that other composers seem to manage quite easily. Or just do something that will interest people. It's very frustrating. Maybe this is just a working experiment? Thanks for your comments!
  7. Unfortunately their are no other colors to be had, unless you have some suggestions. And then they would have to be realized only in strings otherwise it's not a string piece. Haha! I have never seen a ruby and wished it was an emerald. But I will say that there are real limitations to sampled strings and I would give anything to have this played with period instruments. I played a Handel Concerto note for note with these instruments and viola! It didn't sound that good! But if you want to offer some back seat driving (I do it all the time) I would be happy to hear it.
  8. There is one now, sorry it took a while.
  9. I find Beethoven's music endlessly deep and intellectual. The Wourinen, while fascinating in its own right, would pretty much give me little or no surprises on repeated hearings. Though it would be nice to study the score for the orchestration.
  10. Here is the new music with score. It should be much clearer now. 😊
  11. Charles Wourinen is imo one of the best exemplars of modern music. In this piece you can hear many influences as well as an established vernacular. To his credit he uses every means available to make the music interesting in spite of a clearly ultra modern tonality and form. Yet the problem remains, as in great works like Berg's Lulu, that they don't entice repeated listenings. At least in the same way that Beethoven provides. I listened to the 9th today for the hundredth time and the difference is stark. See what you think.
  12. Yes, there are some nice changes in here. In general I find that if things are disjointed I've either gotten ahead of myself or introduced new ideas without first developing the previous one. In short, too many ideas. Also, when you start and stop that sounds disjointed. You might try forcing yourself to use an ostinato or a line that does not stop, as an exercise that may help you think more "continuous." Good luck to you! 24 keys is a big deal, especially if you're having trouble in C. You may have trouble in the others because you're not the kind of composer that likes to be in only one key? Nothing wrong with that, but you may have to rethink your paradigm.
  13. No, Luis, it's my point of view. I don't adhere to anything but my own sense of aesthetics.
  14. Yes, maybe more to the point some of the bass chords in 5ths struck me as an odd choice because they sound, well, like 5ths. Maybe sterile, I don't know the word.
  15. The score is a mess! But I am very interested in your opinions on what can be improved here. I have my doubts about it. 🤔 Edit: My apologies. The post was premature. I'm scrapping it and re-writing it in 6/8. Will re-record it along with some changes.
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