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Ken320

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Everything posted by Ken320

  1. 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?
  2. 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.
  3. 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
  4. 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/
  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. Really good stuff, you are an awesome composer. Do you have any recent work you'd like to share?
  9. 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.
  10. 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.
  11. 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?
  12. 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!
  13. Ken320

    Genus Australis

    This is a suite for percussion instruments with a core of four players. 1 - Marimba doubling on Xylophone 2 - Marimba 3 - 5-octave Yamaha Grand Marimba 4 - Vibraphone The additional instruments can be either real or sampled keyboard instruments at the discretion of the director and core players. For example, waterphones and prayer bells that play on pitch will be very difficult to find. Also, stage amplification and audio effects are required for the toy piano and the celesta, if they are the real thing. There is an instrument that may sound familiar and that is the Marimbarium, a synthesized instrument which is based on a marimba but has sustain and morphing abilities. I will probably add one or two more movements, and finish with a Presto, but so far this is it. I'll come back to it later as I have to move on to other stuff! I hope that you like it. The general conceit here is that these fictional creatures may or may not exist somewhere in Australia. But with thousands of square miles yet unexplored, who's to say they don't?
  14. 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.
  15. Ken320

    Genus Australis

    Update: I have added a video to this music.
  16. Your last statement about what wins is very true, and it should clue you in to the politics of academics and of being a 'modern composer.' Being so young it might help to think of yourself as a composer in many stryles from many times, and let the politically correct dogma of others in music just roll off your back. You don't have to pick a style. If you haven't seen it, watch Bernstein's Harvard lecture series on youtube. It is brilliant and very comprehensive. It takes him a full 12 hours that covers 200 years of musical history to come to the conclusion that atonality (also political, imo) will not suffice for a future. He held up Stravnisky as an example of successful 're-working' of tonality that can sustain us into the future, but just how is anyone's guess. The point is that he has faith in that.
  17. Ken320

    Whales

    Maybe it's the language or maybe Germans like to give fanciful names to things. For example, in the early days of electronic music there was a device generally known as a Frequency Shifter. Some called it a Single Sideband Generator instead. Germans (certainly Stockhausen) called it a Klangemwandler. Maybe that's an onomatopoeia word. 🙂
  18. I'm drawing a blank. Can you pin it down in terms of a genre that you think you may have stolen this from? An ensemble? A decade? A century? It sounds vaguely Elgarish to me.
  19. Ken320

    Whales

    It's pretty spiffy! But to make it more spiffy let me address only the production aspects. I would EQ some of that boom out of the bass (mostly in the beginning) and reduce the loud parts that seem jarring.Make the loudness more uniform throughout. Happy whaling!
  20. Ken320

    Fantasia e fuga

    Not to put too fnie a point on it, but writing something that resembles a baroque piece might be something that I might do because I'm not a purist and not a stickler for accuaracy. But if you go to the trouble of learning the proper rules of form and counterpoint and then stick to it without exception and execute it as well as this - pretty much makes it the real thing. A small but important point imo.
  21. Doesn't concert band have a lot of Bb instruments? I would pick a key with flats.
  22. Ken320

    Fantasia e fuga

    This is a very substantial work, not little at all! A flawless performance on what sounds like a real organ in a real room. Is this true? I was thinking that it must be very difficult to get a good legato when playing double stops on the organ. Often this is masked by the echoes in a large space, but this sounded a bit more non-legato, like how a pianist might interpret Bach. Was this intentional or was the room smallish? Thanks for sharing!
  23. Ken320

    My Composition Feedback

    I think you have a good ear for melody and a good feel for drama. And you've nailed these types of orchestrations instinctively. All good qualities. You should probably be taking piano lessons if you're not already. Maybe you can do this at a local college and that could be an 'in' for you to pursue further education. I will say that while you handled the clichés very well, college auditions for composition will require more. They have heard these things a hundred times and you will have to differentiate yourself from the crowd. Can you do it? Of course. I am guessing that you have the instincts to stand out if you are given some guidance. Find that piano teacher first. You won't be sorry. good luck!
  24. Ken320

    Little Elegy

    It's good. It doesn't sound like an elegy but it's good.🙂
  25. Even if you are a beginner the question is, what is your commitment to music in general. Will you be composing in ten years? If you're not sure, then try the GPO (I have not). If you are, then don't think like a beginner. Think of it as an investment. People generally add on to their arsonal as time progresses, never throwing anything away. So I would advise EW Gold SO, not Silver. It's $400, but is complete in every way, with lots of articulations and effects, but with only one mic position. The more expensive ones have more mics. I can vouch for this library. Silver is stripped down. When I was in your shoes, I rejected it. Check EW on black Friday. It may be cheaper. Good luck!
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