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Hugget Zukker

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About Hugget Zukker

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    Starving Musician

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  1. Vocoder Acapella

    No worries. I agree. A live human voice processed through a vocoder has more potential, and there are of course contemporary composers who explore that. The problem is mainly due to the stretching of syllables in order to achieve different sustains. At first it didn't occur to me that I should simply avoid stretching the attacks. I'm not claiming this is anything special, I just thought I'd share what I'd done, so others might learn a thing or two from merits and mistakes alike, or find a seed of inspiration maybe. At first I was excited about the idea, but then it got stale. Thankfully I'm done with it. (Edit: Not that I think it's not worth listening to or that it wasn't worth making, I just mean that I ran out of creative fuel for the idea.) (Lyrics added)
  2. Magical Overture

    I couldn't shake the feeling there was some hard-to-identify timbre in there. An organ was my closest idea, though silly in hindsight. I agree that the whole thing contributes to the impression, but I'm guessing the bassoons and flutes, maybe with somewhat sudden attack and release, contributed most. The harmonics glissandos probably add a bunch of harmonic complexity very subtly. I really dig how the timbres add up to create a whole that's much more than the sum of its parts, so I hope the tone will be at least as mysterious in a real performance.
  3. Magical Overture

    Sorry, I failed to use the quote button. No, I think it sounds like an organ. Maybe it's just an organ - layered with flutes? It's the very first block chords heard, right at the beginning.
  4. Vocoder Acapella

    Warning: Loud playback. Adjust your volume. I created this crazy experiment about 1 year ago. Just now I thought it would be interesting to share it here. It was quite a tedious process: I recorded a screen reader reading the lyrics out loud from note pad, cut up the phrases, arranged them rhythmically, and processed them through a midi controlled vocoder plugin. It's an ode to the joy of music creation. Lyrics
  5. Magical Overture

    I really enjoy your use of orchestration to unfold complex sonorities, and I hear many interesting sonorities that evoke different atmospheres. Personally, I'm a sucker for those planing extended chords in the middle of the piece. All in all, sounds very out of this world. Very well done. Maybe a stupid question, but what is the keyboard instrument heard in the beginning after the harp arpeggio?
  6. Tone poem

    Thank you, Luis Hernández. I'm working on the score now. I'm not well-versed in musical notation. I used a piano roll editor, and made Logic Pro X spit out a "score" from midi. I have to research the notation for portamento now. The simultaneous oboe notes are because the score generator can't identify grace notes. The viola needs a special clef? Alright. I'm looking into it. I'm also aware that my key signatures have no flats or sharps. It's not a piece that neatly returns to its original key at the end, or remains clear about its tonality at all times (I think). Should I A) just use the first implied key as the key signature for the whole score, B) put different key signatures throughout the score after identifying all the keys and modal trickery it might go through, or C) just keep it as is; one key signature with no sharps or flats, to remain neutral? (Plan C for now.) Edit: New score revision.
  7. Tone poem

    Thanks a bunch! Could you elaborate on the register problems? I assume you mean wrt. ease of playing? I've never played a wind instrument, but the virtual instruments I'm using (Sample Modelling) should limit the ranges realistically. I understand that it's hard to play winds softly in their higher registers. Maybe that's the problem? I've transposed the whole thing down as much as possible, and made a few tweaks, and I think it sounds thicker and less shrill now. I've just uploaded the new track and score with minor changes.
  8. Tone poem

    Since I couldn't find an obvious place for introductions, I'll say hi and jump right into posting music. I wrote this "tone poem", or what-should-I-call-it, for 2 violins, viola, guitar, flute, alto flute, oboe, english horn, and clarinet. I think it would be really interesting to receive some educational thoughts on the use of instrumentation, as well as structure and harmony in analytical terms. Best regards Edit: The score has been revised for the second time.