Exeliksis for Chamber String Orchestra...

Yup.

It's me again :)

Since I did it once, I might as well do it twice (post). Well here it is (finally!) The sound enginner did a great job and I've not touched the file at all. It's all his job!

Now on the official

www.nikolas-sideris.com/stuff/exeliksis.mp3 (<-the music)

www.nikolas-sideris.com/stuff/exeliksis.pdf (<-the score)

1st Performance

21st of February

conductor: Neil Ferris

Venue: Windsor Building, Royal Holloway, University of London

Student Orchestra

That's all.

Note that it's quite big (9 minutes, 17 pages and 14 Mb the mp3). But I'm looking forward to your posts. :)

In order for people to understand a bit more on what's happening here is a pdf file with the analysis of the work:

www.nikolas-sideris.com/stuff/exeliksisanalysis.pdf

Kalispera!

Man, this is just brilliant! :) Do you accept students? :D

manossg :

Mano (I assume?)

Thanks for the kind words... Lessons huh? not a bad idea indeed... :whistling:

Torsten Brandes:

Thanks mate. I appreciate the listening and the posting. :whistling: I went and heard your lovely concerto for orchestra...

I hope you don't mind me bumping my thread after 2 weeks? not that it's out of the first page, but no one else has to say anything else?

I hope you don't mind me bumping my thread after 2 weeks? not that it's out of the first page, but no one else has to say anything else?

It's a pity that such ingenious music is neglected...I feel that it is one of the best pieces of music ever posted in the YC forums.

Pretty interesting piece, especially given that you've taken a mathmatical approach. At parts the textures it gets a bit too dense to work out - did the sound engineer record with just one stereo set-up, or was there multiple mikes for sections?

I checked out the analysis, which while interesting, was rather skimpy on details and kind of unclear at parts. For example, when you say that the fibonacci series determined the which bars contains dissonances: What exactly do you mean by "dissonances"? Unlike Torsten here, I fail to grasp the "underlying tonal structure." I guess while the work isn't strictly serial, the use and propagation of highly chromatic motivic material (the 11-tone row) really gives it that feeling (liberation of the dissonance and whatnot ;)).

Also, how exactly did you use the polygon areas to determine the note entrances? Is there some set system (ie, they're being determined by the fibonacci numbers), or is it semi-arbitrary?

I don't mean for those questions to be critical, just curious for some clarification.

Hey! Thanks for posting!

Pretty interesting piece, especially given that you've taken a mathmatical approach. At parts the textures it gets a bit too dense to work out - did the sound engineer record with just one stereo set-up, or was there multiple mikes for sections?

No, it was full miked. If I remember correctly 5 mics, plus 4 surround (on way back and one in front of the conductor, sorts of). The texture, is supposed to get too dense. Which parts are you talking about? (actually I was amazed with the thickness myself, as I treated this piece in my mind as a more... chamber piece, but it seems that it was after all thick...)

I checked out the analysis, which while interesting, was rather skimpy on details and kind of unclear at parts. For example, when you say that the fibonacci series determined the which bars contains dissonances: What exactly do you mean by "dissonances"? Unlike Torsten here, I fail to grasp the "underlying tonal structure." I guess while the work isn't strictly serial, the use and propagation of highly chromatic motivic material (the 11-tone row) really gives it that feeling (liberation of the dissonance and whatnot ;)).

Skimpy? Sure! I wrote the analysis for my PhD, but never showed it (yet) to anyone, so don't know. There could be details missing, so yes, you are helping out here quite a lot!

bar 5, for example, is a dissonance part (although to be honest, the fibonacci series, does work from there one, backwards, I can't, even to save my life, remember why it starts at bar 5! (<-the lack of explanation then). Then it is bar 27 and so on. (the fibonacci series corresponds to the time, not the form, ok?).

The tonal structure that Torsten talks about is, certainly to the first place, where most counterpoint is based on 6ths and 3rds, thus consonant intervals (not melodic, but harmonic). When something thickens too much, or suddentely it's because of the fibonacci series (which goes 21, 13, 8, 5, 3, 2, 1, 1 and then enters the "soloists" part at H.

Also, how exactly did you use the polygon areas to determine the note entrances? Is there some set system (ie, they're being determined by the fibonacci numbers), or is it semi-arbitrary?

The different areas, are based on the same inscribed circle, so the r in the forms is a fixed number (which I can't remember to put on the forms, thus I gave out the forms and not the final resutls ;)). Actually the division of the radius divided by the edge of a given regular inscribed polygon in a circle is quite interesting, cause if I'm not mistaken the hexagon produces the golden ratio (5/8 more or less). (<-it's been quite a while that I wrote this piece, so I can't exactly remember, could be a pentagon or an eptagon, or whatever... Iwill have to look it up at one point :P)

I don't mean for those questions to be critical, just curious for some clarification.

By all means, since I put the analysis there, it's for a reason. :)

Thank you for posting your thoughts.

Did I heard a dissonant quote from Barber's adagio for strings at 3:21?!

yes you did hear a quote from Barber... ;) (actually forgot to put it in the score, but at least I have it in the analysis... :P)

I am listening as I type. Nice smooth opening. Nice harmonies. Nice bi-tonality.

you said:

The different areas, are based on the same inscribed circle, so the r in the forms is a fixed number (which I can't remember to put on the forms, thus I gave out the forms and not the final resutls :P). Actually the division of the radius divided by the edge of a given regular inscribed polygon in a circle is quite interesting, cause if I'm not mistaken the hexagon produces the golden ratio (5/8 more or less). (<-it's been quite a while that I wrote this piece, so I can't exactly remember, could be a pentagon or an eptagon, or whatever... Iwill have to look it up at one point ;))

How about if the radius is imaginairy, such as the radius equal to the square root of negative 3 (non-euclidian geometry).

Back to the music. Just for my ear I would like to hear a little more tonality seep thru (like my ear matters).

Ah, you increased the pace some, I like it. I would like to have seen the quicker pace last a little longer before you ended it.

Great work!

Thanks for posting rolifer.

About the radius idea. I just used it to get some numbers and use them as I saw fit really. I can't remember at the moment which number I put for radius, but it wasn't root of -3. I mean I just needed some set results, I didn't chase everything to see how it goes in the end and all that.

But I'm really glad you liked it. I think I agree that the fast paced part (the last part) could be a little longer... Ah well... next time I'll have to ponder harder on that I guess... The part about tonality you mention. Somewhere after the middle there is a part where there is a small "obscession" with certain pitches (if not mistaken A and C). I can that... a little bit of tonality :D

Either way, thanks for liking it and posting your opinion. :)

I am a math major and most would not understand a radius of a circle having an imaginairy length. I might have to try writing something like that if I can figure out an algorithm for it.

You have replied to at least one of my posts before, so I only figure it is fair to reply to yours. To all else who read this, Show me yours and I'll show you mine. tat for Tat. And if I ever forget to return the favor. it will be an oversight so message me and I will listen to yours.

Again, Great job.

As an aside, over in Orchestra is a piece of mine (untitled for now), that I would love your comments on, but no pressure......(push...push....push) Or in Chambers is a string quartet of mine ( very long) but mvmt 4 is only 4+ minutes (and my fav of the quartet).

math major?

Very interesting :P

I have replied for the second time to your post (about the midi problem) he he.

but I actually see things a little different. It's not about favours, or owing something, it's just that some things make me turn while others don't. I, of course, don't have time to go and listen to everything, but so far to my brief stay here I've managed to distinguish some people, whose works I will listen whenever posted (Hymnspace, QCCowboy, for example). There are a very few members that I've decided to avoid.

I also follow sometimes other peoples posts. If someone says that "this is the best track I've heard in this forum", or such as this, then curiosity gets me to check the music out.

I will check your orchestra piece, as I've heard music by you before as well (the quartet namely, I think... but didn't post at the time as I didn't have much time there).

Thanks for checking out my work :)

If you really enjoyed this music then there is a thread in the chamber music forum, called "int music quartet", which I really like (my work, btw). Feel free to check it out as well if you want :)

I am listening to "int music quartet", for the fifth or sixth time now. I gave you my opinion when you posted it, But I will clarify it there and give you the bump.

Very, very cool

Thanks rolifer and thanks monkey (no I won't spell your whole nick ;)) Glad you enjoyed it!

i didn't hear any samuel barber in there lol maybe I'm not listening closely enough hah.. GREAT JOB AGAIN.. I wish i could elaborate further than that but I have to go.. FABULOUS

Man, this piece haunts me enough even without Mahlon bumping the thread! :)

Thanks guys. I'm glad to see this piece bumped. :huh: I like it!

Hey Nik, it's always a real pleasure to hear anything of yours. Really enjoyed on first listen and will post more comments when I get the chance to go through with the score.

Hey nikolas ! Great cue :D reminded me a bit of michael kamen sometimes ...

It must be so good to have his music performed by an orchestra, isn't it ?

Even if it's a student orchestra, it sounds so much better than the "seattle symphony" orchestra from East West Platinum orchestra, or the "vienna orchestra" from VSL...

I have a question regarding this, are the musicians paid ? Or they just do that for "training" as they're student ? Because.. i'd love to have some of my pieces performed live ( and recorded for short movies ) , I know many universities here in France and musicians, but I never asked them... I didn't dare yet, because I couldn't pay them if they asked me.

Hey Nikolas, I enjoyed this. I especially like the density at R.

Good job!

I like! I like! *Jumps up and down on the Spot*

Matt, thanks mate. Looking forwards for your comments...

John, Thanks mate. Yes it feels lovely to have 24 people caring about YOUR music, instead of you and your computer. It feels amazing!

No the musicians were not paid, but I did win a competition in order to get the work played. There was a competition in the college and 6-7 composition students took part. The best won! :P:D:D:D It never hurts to try and ask, does it? I reckon, it will be difficult to get a full orchestra, for "Hollywood" style cues, but for an ensemble or solo works (a violin here, a flute there) this might work really well. I know that I have no problem in asking people... Now, if you will get some money of it, you should pay them of course You know how I feel about that. But if it's free, then ask away! I've asked before a friend who played a violin (not so much a friend, more like a friend of a friend etc), and she said yes. So all is well really!

mikey, healey: thanks guys! Glad you enjoyed it.