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Ken320

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Posts posted by Ken320


  1. 5 hours ago, Quinn said:

    I'd defy anyone to apply any existing analytic techniques to a work like Berio's Omaggio à Joyce. 

     

    Quoting WKMT-Juan "Intuition might bring you to the same point but it will just take longer." - The Beatles (particularly McCartney) showed that you don't need any sort of academic musical education to write excellent music. Many who do study CPP theory do far worse and struggle to get something together. 

     

    Haha! One of my professors did a recital playing a piece by Berio during which he blasted out a fff up at the sky with his trombone, then took off his top hat to catch the note as it came back down.


  2. This is a cool song, you don't come across these that often. If I were arranging this I would add a couple of instruments to the mix. Maybe something atmospheric faintly in the background, and later, an accordion?  Bring the electric guitar in earlier before it does the solo, also just in the background. It needs a counter melody to the bare guitar. Weave them in and out. I would introduce the drums and bass earlier and definitely give it a back beat on the snare. I make these suggestions in light of its length. Otherwise it will get boring. And the verse/chorus could be better delineated. I leave that up to you.


  3. I agree that it's very well written piece, which I enjoyed listening to. It sounds like you took care to make it approachable, that is to say not too academic, and I think your audience will appreciate that. It's a shame this is only a mock up because this kind of thing would benefit from real players who I think would have a good time with it.


  4. Thank you, @Jean Szulc for you comments. It's very nice to know that other people get my music. I like to write in different forms and guises. Sometimes it is intentional like it was with the Concerto Grosso I posted here. But I decided to just let my instincts take me any which way in this project, hence the name Hither & Yon, like a traveler reporting back what he's discovered throughout the world. I want to see after it's done if I will be a chameleon or something more solid and with a unified style. Others can decide. 😊

    • Like 1

  5. Continuing in my Hither and Yon project, this is in the form of a Recitative from a lecture on "Self" by Alan Watts. Mr. Watts is known for his teachings on Eastern religion and how we perceive the world around us. You might say that he is somewhat of an Emissary to us in the West. He also has a very melodic speaking voice and cadence which made it easy for me to set the music to. Very little editing was needed. I use the Lydian mode here along with some subtle transformations and transpositions, trying to achieve a prismatic effect. I think it came out well. Your thoughts?

     

    H i t h e r  a n d  Y o n

    Pearls of Perception *

    Rain Dance ::: https://www.youngcomposers.com/t38695/rain-dance/

     


  6. Prokofiev On The Importance Of Melody

    I have never questioned the importance of melody. I love melody, and I regard it as the most important element in music. I have worked on the improvement of its quality in my compositions for many years. To find a melody instantly understandable even to the uninitiated listener, and at the same time an original one, is the most difficult tasks for a composer. He is beset by a great multitude of dangers: he may fall into the trivial or the banal, or into the rehashing of something already written by him. In this respect, composition of complex melodies is much easier. It may also happen that a composer, fussing over his melody for a long time, and revising it, unwittingly makes it over-refined and complicated, and departs from simplicity. I fell in to the trap, too, in the process of my work.

    Arnold Schoenberg On Artistic Expression

    Art is a cry of distress from those who live out within themselves the destiny of humanity, who are not content with it but measure themselves against it, who do not obtusely serve the engine to which the label “unseen forces” is applied, but throw themselves into the moving gears to understand how it works. They are those who do not turn their eyes away to protect themselves from emotions but open them wide to oppose what must be attacked. They do, however, often close their eyes to perceive what the senses do not convey, to look inside of what seems to be happening on the surface. Inside them turns the movement of the world; only an echo of it leaks out -the work of art.

    • Like 1

  7. It would be helpful is to know what examples he used to back up his argument. But to me, music that is tightly coupled to a text effectively becomes a song, in that the same rules apply, as your prof points out. Faster tempi more so than slow. Emily Dickinson more than e. e. cummings or prose poets. Poetry is a vast area. I wrote some music for a Langston Hughes poem and the treatment did follow the strong and weak beats. If you want to go against this, you would need a good reason.


  8. No. I compose directly by playing the parts myself into the DAW. In the rare times when the music is clear and intact in my head, I'll write it on paper first, old school, just so I won't forget it. I don't know Ableton at all, but most DAW's are track based MIDI sequencers. They are useful tools because they give immediate feedback of sound with endless possibilities, even if it's a standard orchestra. Once you have notes represented as MIDI you can import them into a notation app. At this point scoring it out is a formality because I already know how the music sounds and how it should look. For example, I know that the fifteen or so string tracks will need to be merged into the standard five staves for an orchestra.

    If you can compose for an orchestra directly onto paper without having to sit at a piano, a notation app might be all you need. But if you compose at the piano, then the piano might as well be a computer. Make sense?

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