Abyss (flute, cello, piano)

Hello everyone,

This is a piece I just recently completed. It is basically a fully revised and completely changed version of the "Fantasy Trio" which is also on the site. The piece attempts to chronicle some persons descent into madness. To show this the piece starts of somewhat tonally and as it progresses becomes more and more atonal until the ending is fully atonal. Hence the title "abyss." This piece will be having its world premiere on December 13. Comments are welcome

mp3 here http://www.box.net/shared/mx31ge608b

score attached

This is a very interesting piece, and I generally enjoyed it. I'm not sure what to say because I don't think I've heard anything quite like this, especially with the color you get from the flute. Maybe slightly Messiaen influenced? It didn't really have any melody you'd be able to sing back to anyone, but that isn't necessary in a piece of music at all. If you can get a recording of the performance in December, I'd love to hear it. This would be very challenging to perform as a group, so you must have some really talented musicians working with you.

Overall, I thought it was a good listen. For the 4 note cello chords, are you having him roll them from the bottom up? I'm assuming thats what you wanted, and I think that'll make that section of the music sound much better than this (very good sounding, actually) midi realization.

Keep it up.

it is a strong music

all the contrast sounds explose at the same time

the phasing are very complex

the form are very modern

it is the best modern music i have ever heard in here

dark--BIG EYES

i need to study your music

Oh, how I wish I were part of the ensemble performing this piece!

Hopefully you can post a recording of live muscians performing this because as decent as the GPO[?] was, I am sure it doesn't do this piece justice.

I appreciated your use of extended techniques in all of the instruments.

Overall, I am thrilled about this but it seemed a little long, and I can't figure out why because it really wasn't all that long.

tim, regarding the cello chords, there are techniques that allows strings to play all four notes at once without rolling, but it's rare and considered one of the extended techniques. The catch is that it has to be loud and it doesn't always sound pretty because you need to use an enormous amount of pressure to do it.

Wonderful job!

i like it. good rhythms, it could've been more of it. madness is about one idea getting to you so hard that you are no longer fit to think other thing.

for a madman this atonal or disonant part is a middle part, not the last. this is the time when one still fights. and madness comes within its full grip when the man is defeated - numb and monotonous.

actually this atonal multiplicity is still a part of being sane, passionate, decentered, but sane.

i think, if following the idea (and phenomenology) of becoming mad/insane, down through the middle one should come with some stable rhythm or tone, or whatever expressing the idea of total blindess to others' worlds.

but it's not a musical critic, so you might as well skip it.

music was good, strong and metal strings will make it even more mad.

regards.

Thanks everyone for the comments and suggestions. After the premiere I will be sure to post a recording for you all.

For the 4 note cello chords, are you having him roll them from the bottom up?

Tim, thanks for the nice comments, and yes the chords are rolled from bottom up. I am not a string player but I think it is implied that it will be rolled bottom to top when a chord is written like that?

Tim, thanks for the nice comments, and yes the chords are rolled from bottom up. I am not a string player but I think it is implied that it will be rolled bottom to top when a chord is written like that?

An unmarked chord will be rolled from the bottom up or sometimes 2x2, depending on how the performer interprets the exact scenario.

Your performers will have input regarding the chords when you present the piece to them.

regarding the cello chords, there are techniques that allows strings to play all four notes at once without rolling, but it's rare and considered one of the extended techniques. The catch is that it has to be loud and it doesn't always sound pretty because you need to use an enormous amount of pressure to do it.

Hmm, that sounds really interesting, could you explain further how that technique works, and how to mark it in the score? Thanks

just write ffffff under the note... anyway.. four notes cannod be played without rolling. It sounds disgusting. Three notes without rolling is easy, and sound good. :) 2+2 is easy, and the lowest strings will clang you for some secunds. It should be enough :)

http://www.youngcomposers.com/forum/dawn-two-flutes-violoncello-piano-mp3-score-17247.html

Anyway: This is a double flute - cello - piano piece from me. I had listened to your composition, now please listen to my :P

I found this to be very interesting. Admitedly, I was pretty turned off by the beginning and almost shut it off but ultimately, I am glad to have stuck it out. Once the piano entered, the piece picked up dramatically.

There are quite a few beautiful moments and your use of extended techniques for all the instruments was quite refreshing. However, I'm not too sure about that piano glissandi. It's not that I don't like the effect but the way you use it just seems very... out of place. Also, I'm not entirely sure it follows the story you described. To me, if anything, the piece becomes MORE orderly and beautiful throughout rather than less so. I think the program also becomes a bit muddled by the lack of a definitive climax. I felt as if there should there should be some sort of "snapping" point where all chaos breaks loose but one never really arrives. Sure, there are many chaotic moments but nothing that jumped out enough at me.

Finally, I felt that the piece was too busy at times. For this type of music, I find the quieter bits with sparser textures the most appealing. There were moments like that in your music (particularly the last minute or so which I loved) but I didn't feel you did all with them that you could. In a lot of instances, I felt the music felt like it was in a rush to make its point.

Overall, I thought it was quite good and refreshingly original compared to what I'm used to on this forum.

I found this to be very interesting. Admitedly, I was pretty turned off by the beginning and almost shut it off but ultimately, I am glad to have stuck it out. Once the piano entered, the piece picked up dramatically.

There are quite a few beautiful moments and your use of extended techniques for all the instruments was quite refreshing. However, I'm not too sure about that piano glissandi. It's not that I don't like the effect but the way you use it just seems very... out of place. Also, I'm not entirely sure it follows the story you described. To me, if anything, the piece becomes MORE orderly and beautiful throughout rather than less so. I think the program also becomes a bit muddled by the lack of a definitive climax. I felt as if there should there should be some sort of "snapping" point where all chaos breaks loose but one never really arrives. Sure, there are many chaotic moments but nothing that jumped out enough at me.

Finally, I felt that the piece was too busy at times. For this type of music, I find the quieter bits with sparser textures the most appealing. There were moments like that in your music (particularly the last minute or so which I loved) but I didn't feel you did all with them that you could. In a lot of instances, I felt the music felt like it was in a rush to make its point.

Overall, I thought it was quite good and refreshingly original compared to what I'm used to on this forum.

Thanks for the kind words and detailed comments. I will be sure to revise the piece with your ideas in mind. Thanks again

Beautiful work, I loved it!

What software are you using? Sounds quite authentic!

Best of luck with your premier...

TT, you sure you know what Abyss means?

This is basically excellent, you need to get yourself out there. If you aren't taking up competitions, do it.

Two questions, what programme for sound is being used? and how long did this take?

TT, you sure you know what Abyss means?

This is basically excellent, you need to get yourself out there. If you aren't taking up competitions, do it.

Two questions, what programme for sound is being used? and how long did this take?

Thanks Andy.

I used GPO for the sound with lots of reverb. I started this piece in november 2007 and took about a month to write it out. Then I layed it off untill october 2008 and revised it for about a month. So totally about 1 month for writing and 1 month for revision. I'm glad you enjoyed it!

I tried to steal it and use it to improve my own performance direction writing and so on, because i'm pretty lazy and thoughtless at that stuff, but my internet won't allow it damn it.

So yeah, it's worth learning from even from a genius like myself. I wonder if maelstrom will like this...

Beautiful work, I loved it!

What software are you using? Sounds quite authentic!

Best of luck with your premier...

Thanks!

I am using GPO

Anyone else?

I know that I am shamelessly promoting this piece and bumping it up, but I really would like more comments on this piece as I feel it is my best work to date. Thanks!

You should write something else, and then that will be the best work to date. Onwards and Upwards as Napoleon once said.

Anyone else?

I know that I am shamelessly promoting this piece and bumping it up, but I really would like more comments on this piece as I feel it is my best work to date. Thanks!

You've gotten nearly three pages of comments... that's more than about 95 percent of threads on YC EVER get. Especially considering you barely have any posts in this forum and presumably have commented on very few other's work. If you really want more comments, post more on other's work. As it is, you're pretty fortunate to get the amount of comments you have gotten.