The Hourglass Mind

Synthaesia and perfect pitch are two seperate conditions, not to knit pick but I've been thoroughly reamed out over the very same misconception.

I would tend to agree with that statement, it works, and nothing that works truly vanishes from the earth.

both effective and beutiful, an artful expression of mental frustration and anguish...I listened to all four mvts. in awe, very well done.

interesting theme, i very much enjoyed this. I do however tend to agree with manossg, the direction is lacking a bit. but a very good piece overall.

lol, well in some instances i feel that way but I too am glad you're just kidding. however there are some musicologists who say minalism's dead or atleast almost dead...wheather thats good or bad has yet to be seen...but i'm glad you enjoyed my experimental hybrid.

thank you, philip glass is probably the most famous minamalist composer, so i'm glad the minimalism came through, and as for razor....down the track not across the street....

mallet players practice a technique called double sticking, where 2 mallets are held in each hand. one between the index and middle finger, and one between the ring finger and pinky. Thank you for the critique, I appreciate the honesty and i see what you mean about the difficulty of reviewing atonal pieces. perhaps I should put a lower voice into the texture, maybe a cello doubling the violin at the octave lower....at any rate thanks again. c'est la vie

you blew my mind for a second, I knew my piece only had 30 measures but i had to check anyway, and then i felt pretty rediculous, having realized the joke. *sigh* but so far I've not gotten much constructive criticism....se la vie.

in the interest of mending fences, I'll go ahead and tell you the story. A close friend of mine with cerebral palsey has been fighting damage to his kidneys and liver, he needs a transplant, but he keeps spiraling downward into depression. this piece was in many ways a coping tool for dealing with his worsening state. i have clinical depression, and i do fight, and i stay on top, but some who have it don't fight, don't seek help, and frequently don't survive, but I do understand where you were coming from now and hope we're still on neutral terms.

hey hey, keep it down, and seriously, keep it in the shoutbox or off topic. but vibes really do kick a#@!!!

oh it's one of the real beuties, especialy when it rise out of a thick heavy texture....oh man i hate you for having vibes....but best of luck, i'm eager to hear what you come up with.

well in truth i would love for a harp to play, but unfortunately, it alters the texture too much from what i want. and no GPO doesn't have a vibrophone, atleast not in the finale 2006 version.

I failed to note that the harp is meant to be a vibraphone, GPO doesn't have a vinraphone option, however, a double strung, orchestral pedal harp can be tuned to play chromatic passages, Webern has several harp parts in pieces...but that's neither here nor there, it was meant to be a vibraphone. and as to the amazingly blunt and tactless question...if you can't figure it out, I'm not going to tell you.

I thoroughly enjoyed this piece, I love the almost equilibrium achieved with so many dark instruments playing in such a bright mode. my only real qualm is more texural than anything, all of your instruments have unique individual timbres and yet don't blend cohesively(which works to your bennefit) that is except the bassoon. the bassoon blends too well with the cello at times and I kind of lose both under the rest, but if it were a dark instrument with a more unique tone to replace the bassoon, say, a bass/contrabass clarinet, this might realy make this piece shine. but, this is just my personal belief and I feel the piece as is, is beutiful. Great Job.

I wrote this piece in an effort to capture the weakness and frailty of a man, as he fights a losing battle with clinical depression. an Umbra is the darkest park of a shadow, and so, umbral awakening is a metaphore for the dark parts of thought propogating in his mind. The music itself is a result of the blending of two combative schools of thought; minimalism(chiefly in a steve reich style), and schoenbergs early expressionist, free atonality(i.e. the use of all twelve notes before repeating any, but not using rows). please let me know what you think. Thank you all in advance. EDIT: changed midi file to playback vibes, and removed the harp designation from the score. Human Frailty & Umbral Awakenings.MUS Human Frailty & Umbral Awakenings.MID

yes, minus the cadenza, as such

a score or even a midi file would go a LONG way to getting people to help you, and besides, 19 sec. isn't exactly much to go on. I'd love to help you, but without perfent pitch, I'm in the dark.

we could wig beat him...bach style!

my apologies...the list started small enough, but i guess it did get a little out of hand...nonetheless, it was what he asked for, and if it helps anyone here especialy, i don't know, maybe horn players, then it was wowrth the space. but then again i guess i would be rather foolish to think that this would be a thread frequented by horn players.

I agree, that was my whole reasoning behind subdividing my analysis. The (A) section that is reapeated in the later half of the ternary form, aught to remain atleast 95% unchanged(stylisticly as well). assuming he decides to go with the implyed form, that is.

I play horn semi-proffesionaly as I am finishing my undergraduate degree. what follows is a list of horn solos i've either played, studied, or listened to along with their respective publishers. Keep it up, it's worth every second of practice. Grade 5 Composer Title Publisher Beethoven, L. Sonata, Op. 17 Boosey & Hawkes Beversdorf, T. Sonata for Horn and Piano Southern Borodin, A. 5 Pieces from Little Suite Israeli Music Boutry, R. Chassacor Leduc Chabrier, E. Larghetto Salabert Cherubini, L. 2 Sonatas IMC Corelli, A. Sonata in F Major Ed. Musicus Corelli, A. Sonata in D Minor Ed. Musicus Danzi, F. Sonata, Op. 28 IMC Dukas, P. Villanelle IMC Handel, G.F. Sonata in F Major Israeli Music Haydn, J. Michael Concertino per Corno Universal Koetsier, J. Sonatina Donemus Larrson, L.E. Concertino, Op. 45 Gehrmans LeClerc, M. 5 Piecettes Maurer Mozart, W.A. Concerto No. 1: 1(4) 2(4) various Concerto No. 2: 1(5) 2(3) 3(4) various Concerto No. 3: 1(4) 2(3) 3(4) various Concerto No. 4: 1(6) 2(4) 3(4) various Concert Rondo G. Schirmer Nelhybel, V. Scherzo concertante General Music Piatoni, L. Air de Chasse Leduc Poulenc, F. Elegie Chester Saint-Saens, C. Morceau de Concert Remick Romance, Op. 67 Hamelle Schumann, R. Fantasy Pieces Studio P/R Senaille-Eger Allegro Spiritoso AMP Strauss, F. Concerto: 1(5) 2(4) 3(5) Universal Strauss, F. Theme and Variation Universal Strauss, R. Andante, Op. posthumous Boosey & Hawkes Strauss, R. Concerto, Op. 11: 1(5) 2(4) 3(5) IMC Tomasi, H. Danse Profane Leduc Vinter, G. Hunter's Moon Boosey & Hawkes Grade 6 Bassett, L. Sonata for Horn and Piano R. King Bitsch, M. Variations Leduc Berge, S. Horn-Lokk Nors Musik Bresgen, C. Konzert Gerig Buyanovsky, V. Pieces for Horn Solo McCoy Danzi, F. Concerto in Eb Heinrichson Czerny, C. Andante e Polacca Doblinger Donato, A. Sonata MPH Dubois, P.M. Concerto Leduc Forster, C. Concerto No. 1 in Eb G. Schirmer Forster, C. Concerto no. 2 in Eb McCoy Francaix, J. Divertimento Ed. Musicus Gliere, R. Concerto IMC Hamilton, I. Aria Schott Hamilton, I. Sonata Notturna Schott Haydn, F.J. Concerto No. 1 & 2 Various Hartley, W. Sonorities 2 Presser Heiden, B. Sonata for Horn and Piano AMP Hermann, R. Concerto Schott Hindermith, P. Concerto Schott Sonate Schott Alto Horn Sonate Schott Jacob, G. Concerto J. Williams Jones, W. Three Fantasies AMP Louel, J. Invention CBDM McCabe, J. The Goddess Trilogy Novello Mozart, L. Concerto KaWe Musgrave, T. Music for Horn and Piano Chester Porter, Q. Sonata for Horn and Piano Reeves Ott, J. Solo for Horn and Tape C. Benny Reynolds, V. Partita Southern Sonata Southern Ries, Ferdinand Introduction and Rondo Music Rara Ries, F. Sonata in F Schott Rosetti, F.A. Concerto in Eb IMC Concerto in D Minor Simrock Rossini, G. Prelude, Theme et Variation G. Schirmer Schreiter, H. Sonatine Doblinger Schoek, O. Konzert Boosey & Hawkes Schumann, R. Adagio and Allegro Boosey & Hawkes Stamitz, K. Concerto in Eb Schott Stevens, H. Sonata for Horn and Piano R. King Strauss, R. Zweites Hornkonzert Boosey & Hawkes Telemann, G.P. Concerto in D G. Schirmer Weber, C.M. von Concertino IMC Wilder, A. Sonata No. 1, 2 & 3 Fox

first off, let me say i enjoyed what you have so far, and liked the form used(provided my analysis was correct)...at any rate I'll break down the structure as I see and suggest a possible way of finishing the form. structure as is: mm.1-15 Opening Theme (I) Valse-Vivace (A) mm.16-23 (a) mm.24-32 (b) mm.33-40 (a) mm.41-48 (b') mm.49-57 transitional theme (T) mm.58-71 (I') Blues (B) mm.72-77 (a) mm.78-81 (b) mm.82-89 © so, looking at the big picture you have essentialy: I-A-T-I'-B which looks to me to be an incomplete ternary form. as such something to the likeness: I-A-T-I'-B-T-I-A would certainly be acceptable, as would: I-A-T-I'-B-T-A-I where the final I is slightly altered into a closing theme. If this is all too vague i took a couple of minutes and, using the mass edit tool, simply coppied and pasted the respective sections to give you the gist of what i'm talking about. I mean no offense by these attachments, as I have left the sections essentialy unchanged. I-A-T-I'-B-T-I-A.MID I-A-T-I'-B-T-A-I.MID

I'm in, though the timeframe will be a chalenge for me.

The final note of their row is wrong, it is writen as an F an aught to be an E natura, oddly enough the recording is correct, but they just keep writing F all the way through the first 11 examples.