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Everything posted by Ken320

  1. 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. )
  2. 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.
  3. 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,
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. It would. It's mono thematic. I think of Stravinsky's Symphony Of Psalms in contrast where he simply wrote Hallelujah for the choir to sing. But maybe that was more for musical punctuation.
  14. Really nice, Maggie. Your aesthetic choices are solid and there's a good arc to it as well. A good psalm for communion.
  15. You may be approaching this the wrong way. Rather than focusing on incidental things, like register or major/minor, focus on how you yourself feel being lost. Have you ever really been lost? If not, how will you convince the listener? Even better, what pieces that already exist evoke feelings of being lost to you, as you see it? Analyze them and copy them. I am confident that in the end you will have something more true to your emotions and it won't sound like you copied it if you put a little thought into it.
  16. Stormdrum2 has several drum sets, each with a full set of cymbals. Ministry of Rock has many sets but also has individual cymbals of various types.
  17. I would say that the first triad of any mode represents its "tonic," which I put in quotes because they don't always get there with a ii-V-I cadence or a subdominet-dominant cadence. But they are tonal centers nonetheless.
  18. The diatonic steps for the Dorian mode are 1,2,b3,4,5,6,b7 .. You would use those intervals regardless of your starting note.
  19. Actually, now that I think about it, Mark's covered everything and a few I hadn't thought of! Stormdrum has an ADSR, so I might shorten the release, along with EQ to remove annoying resonances, and a low velocity. At a lower tempo I've had good luck with using CC11 surgically to rein in the tails of the timpani, for example, to simulate my hand on the drum.
  20. Maybe I can help. I use both of the EW libraries you speak of. But I need a precise definition of your terms like ghost notes and med snare and low snare in order to help you. I am also a percussionist.
  21. This has a nice melody and a good accompaniment. It's lovely throughout. I would suggest not stopping the rhythm at bars 10 and 42. Just keep it going. Also, you have a nice modulation going at bar 56, but a break in the melody at this point is disconcerting. You might consider holding that D for two more bars until it overlaps with the clarinet's entrance on F. And then continue with a brief harmonization of it. Something like that, just to make things flow better.
  22. 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!
  23. Not bad. It has a lot of energy. What does it mean?
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