J-Pop queued on the player

Sitting on the beach

am I becoming

a melancholy

Renaissance painter

Sipping Corn N' Oil

  

   

Surreal poem of the day

Standing in the rain

夜行と雨

      

Standing in the rain 
tiny cold tears of heaven 
kissing her dark hair

   

   

EOUS a bit of "free jazz".

Eous

As a composer I occasionally get a musical idea stuck in my craw that I can not shake out of my ears until I get it down on paper and published; "Eous"(1) is one such piece.

"Eous" is a piece for a Jazz group consisting of Soprano Sax, Vibraphone, Bass and Drums. Please take a listen to the MP3 for an example of one way the piece could be interpreted. Thank you.

Eous

   

(1) "Eous" is a made up word with no meaning.

Taulma V

Taulma is a made up word, but sounds a bit like the name of a planet in a SciFi novel.

Music by me, and a bit different than my usual stuff.

Taulma V

Does 5/8 = 5/4 = 5/2 ? The Definitive Guide.

Does 5/8 = 5/4 = 5/2 ? The Definitive Guide.

Not! First let me state that this is in no way a definitive, nor even an authoritative statement on the differences between 5/8 and 5/4, they are my interpenetration of the differences and my use of them in my compositions.

On the surface one can say that they are mathematically equivalent. By this we mean that by setting the eight note in 5/8 time and the quarter note in 5/4 time to the same BPM (metronome mark) both bars would move through time at the same rate. Thus one could argue that they are equivalent and that there no real difference between them. But ask your self this is a there a difference between 6/8 and ¾ time? We can set their eight note BPM to the same value, and both bars would move through time at the same rate; but would they have the same feel? How about 6/8 and 6/4 ?

Part of the issue is how do we define rhythm?

So what is the difference (from my perspective)? It is one of “pulse”. In 5/4 time one would “feel” five pulses in the bar, no matter the BPM. In 4/4 time one feels four pulses in each bar. (I feel a lot of 4/4 music might be better notated as 2/2, but that is another discussion.) In 5/4 there might be an emphasis on particular pulses (beats), but there would be five even beats to the bar. In 4/4 there are 4/4 even pules (beats) to the bar with perhaps (given the gene of music) bit more emphasis on the first and third beats, or as some have explained; a pattern of a Strong, Weak, Strong, Weak emphasis in the bar with the third beat a little less strong than the first beat. In 5/4 time we might have a pattern of Strong, Weak, Weak, (Less) Strong, Weak.

So let us go back and examine 6/8, ¾ and 2/4. In 6/8 and ¾ we have the same number of eight notes but one is “felt” in two and one is felt in three. In 6/8 time one has two even “pulses”, where the ¾ time has three pulses. [Yes at extreme tempos, the ¾ could turn into more of a single pulse]. Are you familiar with Bernstein's “America” from West Side story? It is in alternating 6/8 and ¾ bars. The “tempo” of the eight notes remain constant, but the pulse, or beat, changes from one bar to another. So what is the difference between 6/8 and 2/4? They both are felt in two, but one has a base sub-division of three eight note and one has a basic sub-division of two notes. But in both the pulse remains constant.

Now onto 5/8 (and by extension 7/8, 9/8 divided asymmetrically, 11/8, 13/8, 14/8, et cetera). My approach to 5/8 is that (when divided 3+2 or 2+3) it has TWO pulses or beats per bar. But unlike 6/8 or 2/4 that also have two pulses per bar, the two pulses in 5/8 are uneven in length; asymmetrical! In a 3+2 division the first pulse of the bar would be 50 percent longer than the second pulse. If you where to tap your toes to the pulse in 5/8 the tapping would be asymmetrical, Does 5/8 = 5/4 = 5/2 ? The Definitive Guide.

Not! First let me state that this is in no way a definitive, nor even an authoritative statement on the differences between 5/8 and 5/4, they are my interpenetration of the differences and my use of them in my compositions.

On the surface one can say that they are mathematically equivalent. By this we mean that by setting the eight note in 5/8 time and the quarter note in 5/4 time to the same BPM (metronome mark) both bars would move through time at the same rate. Thus one could argue that they are equivalent and that there no real difference between them. But ask your self this is a there a difference between 6/8 and ¾ time? We can set their eight note BPM to the same value, and both bars would move through time at the same rate; but would they have the same feel? How about 6/8 and 6/4 ?

Part of the issue is how do we define rhythm?

So what is the difference (from my perspective)? It is one of “pulse”. In 5/4 time one would “feel” five pulses in the bar, no matter the BPM. In 4/4 time one feels four pulses in each bar. (I feel a lot of 4/4 music might be better notated as 2/2, but that is another discussion.) In 5/4 there might be an emphasis on particular pulses (beats), but there would be five even beats to the bar. In 4/4 there are 4/4 even pules (beats) to the bar with perhaps (given the gene of music) bit more emphasis on the first and third beats, or as some have explained; a pattern of a Strong, Weak, Strong, Weak emphasis in the bar with the third beat a little less strong than the first beat. In 5/4 time we might have a pattern of Strong, Weak, Weak, (Less) Strong, Weak.

So let us go back and examine 6/8, ¾ and 2/4. In 6/8 and ¾ we have the same number of eight notes but one is “felt” in two and one is felt in three. In 6/8 time one has two even “pulses”, where the ¾ time has three pulses. [Yes at extreme tempos, the ¾ could turn into more of a single pulse]. Are you familiar with Bernstein's “America” from West Side story? It is in alternating 6/8 and ¾ bars. The “tempo” of the eight notes remain constant, but the pulse, or beat, changes from one bar to another. So what is the difference between 6/8 and 2/4? They both are felt in two, but one has a base sub-division of three eight note and one has a basic sub-division of two notes. But in both the pulse remains constant.

Now onto 5/8 (and by extension 7/8, 9/8 divided asymmetrically, 11/8, 13/8, 14/8, et cetera). My approach to 5/8 is that (when divided 3+2 or 2+3) it has TWO pulses or beats per bar. But unlike 6/8 or 2/4 that also have two pulses per bar, the two pulses in 5/8 are uneven in length; asymmetrical! In a 3+2 division the first pulse of the bar would be 50 percent longer than the second pulse. If you where to tap your toes to the pulse in 5/8 the tapping would be asymmetrical, uneven, but not random. The underlying eight note “rate” (temp) would remain constant, but the pulse would fluctuate (in a precise manner). In 5/4 time the pulse would remain “constant”; id est two eight notes for every beat/pulse. 10/8 time and 5/4 time that both had the same BPM would be mathematically equivalent, but each would be felt differently. In 10/8 time we would normally have four (un-even) pulses to the bar (3+3+2+2 for example) where in 5/4 we would have five even pulses (2+2+2+2+2). 7/8 time would have three pulses, 9/8 (divided 2+2+2+3) would have four pulses, 11/8 (3+3+3+2) would be four pulses (Don Ellis once called it 3 and 2/3 time). Et cetra.

At extreme tempos these feelings of pulse can break down or blur, and I am sure there are examples in the literature that do not follow these guild-lines; as I stated this is my working model on the use of 5/8 vs 5/4 in my music.

Questions?

Ursus Demens 

Meditation on the Sierpinski Tetrahedron

19 minutes of 15 synthesizers layered in a slowly evolving poly-rhythmic chant over both a bass drone and a bass ostinato. An LSD trip without the LSD.

Taulma V

Taulma V


This is an experiment in a style that I have never written for.  Really used as a learning exercise to learn some new software tools that I have.

Taulma V MP3

Taulma (taul-ma) is a made up word that has not meaning, but does sound like the name of a planet in a SciFi story.  Enjoy, but do not take it seriously.

Ed

59,620 YEARS, the Return of Mars

59,620 YEARS, the Return of Mars

Old piece, new recording!

MP3
http://www.amaze.fm/artist/Ed_Sharpe/59620-years/


Score and MP3
http://www.scoreexchange.com/scores/20562.html


The title is in reference to the fact that the planet Mars is made its closest approach to Earth this year (2003), which last occurred some 59,620 years ago. Aldo Vitagliano, of the University of Naples in Italy, calculated that Mars hasn’t had as close a brush with Earth since September 12, 57,617 B.C., when Neanderthals ruled but modern man had begun to make inroads.

When I was writing this piece I was envisioning in my mind short ballet to go with the music.

The form of the piece is a simple arch, A (slow introduction in 4/4 time), B (the "chant" section of alternating time signatures and a slow increase in tempo), C (the central calm section in 11/4 time, basically a passacaglia that build ups as each voice is added then slows thins out as each voice drops out), The return of the B section and finally the return of the A section acting as a coda

Ballet Outline

Section A (4/4)

o Through the void of space Mars approached ancient Earth.

Section B (Mixed Meters)

o Fearful a Neanderthal shaman prays to the clan’s gods. o Slowly the clan joins the shaman in praying to their gods. o The prayer becomes a chant o The chanting breaks into a chaotic dance o The shaman start to pray again.

Section C (11/4)

o While the clan sleeps the red star waxes and wanes in the autumn sky.

Section B (mixed meters) (Return of)

o The Shaman starts to pray again. o Slowly the clan joins the shaman in praying to their gods. o The prayer becomes a chant o The chanting breaks into a chaotic dance

Section A (4/4) (Return of) (Coda)

o Through the void of space Mars returns.




Instrumentation [woodwind octet + Percussion]:
Flutes 2
Oboe
English Horn
Clarinet
Bass Clarinet
Bassoons 2
Percussion

Sol Demens

Sol Demens
A Mad Sun

From the archives; composition of the week:

http://www.scoreexchange.com/scores/24443.html
Just clik on the MP3 link to listen, no need to load the plug in.


Sol Demens
A Mad Sun

a meditation for two piccolos and string orchestra.
14 minutes of sureal madness

Be sure to put on your SPF 35 Sun Screen!

Disclaimer: Listening to this piece can be harmful to your psyche and the composer will not be held responsible for any damage or bruising of the listener’s psyche, nor will he accept any responsibility for any negative karma that might accrued to the listener.

The candle

A short "tone haiku"  to accompany my haiku “The Candle”.

The candle
to dispel the night
gives its life 


The Candle

the night

    
The candle
to dispel the night
gives its life
    
   

In She Walked

  
In She Walked
     
http://youtu.be/TAvNRSglm4g





A collection of interrelated haikus with a Jazz accompaniment.

echos of your tears.

     
 
In the autumn night:
falling leaves, falling rain drops;
echos of your tears.
      

Meditation on the Sierpinski Tetrahedron

   
Meditation on the Sierpinski Tetrahedron


I now have video to go with my experiment for 15 synthizers:

Meditation on the Sierpinski Tetrahedron



Best experienced with eyes closed in a dark and cool room.

The experiment in the layering of synthesizers and rhythms over a bass drone and a bass ostinato continues.

Note: There are no actual Sierpinski Tetrahedrons in the video.

Waring: It is 19 minutes of navel gazing.


Score is at:

Meditation on the Sierpinski Tetrahedron


Note the recording with the video is a newer/better mix than the mp3 currently on the score exchange site.

a silent bell

     
only for my ears
I sing a song in the void
like a silent bell
   
    

the coming night

    
With the coming night
meditate on the darkness;
embrace the blackness
a billion stars in the sky
lights a path to my repose
    

The black cat

    
The black cat walks by
the white dog begins to bark
in the gray twilight
   
  

Afternoon

  
Dozing in my chair
Sunlight peeking through the leaves
Dreaming of summer
    

Meisa's Lullaby

An arrangement of Brahms' Lullaby [Wiegenlied] for Big Band that I did two years ago.


"Meisa's Lullaby"



(Renamed "Meisa's Lullaby" in honor of my granddaughter.)

Evening

     
Evening thunder storm
greets me on my arrival,
puddles on the ground
          
               

I awaken to:

the sound of running water;

a lost memory

Eous

While the city sleeps

While the city sleeps
dreams and visions visit me.
Morning comes too soon