Monday, June 22, 2009
In she walks
In she walks
at quarter past nine,
late again.
Her red dress
in the right places
Oh so tight.
on her lips
a lit cigarette
and a smile
She orders
a Scotch on the rocks,
nothing more.
Her soft voice
the music of the spheres
to my ears
Friday, June 19, 2009
Thursday, June 18, 2009
Wednesday, June 17, 2009
Tuesday, June 16, 2009
Monday, June 15, 2009
Friday, June 12, 2009
Thursday, June 11, 2009
Evolution I
Evolution I for percussion ensemble is built on a single 25 note rhythmic pattern where the last note of the pattern becomes the first note on the pattern when it is repeated.
The original pattern was two bars long, this is performed by the conga when it enters. The other instruments (with the exception of the snare drum) all play the same 25 note pattern either in an augmented (mostly) or diminished note durations so as the pattern can last as long as 16 bars or as short as a bar.
The piece gradually builds as more instruments enter the fry and the volume increases. The piece ends when all of the instruments reach the end of their pattern at the same time at the down beat of letter "G".
While specific instruments are indicated in the score, performers should feel free to substitute instruments with what they have available; keeping in the relative "pitches" and the decay characteristics of the instruments in mind.
Ursus Demens
Note: The score's indicated duration of 4'33" was not planned nor intended, it just randomly happened.
The original pattern was two bars long, this is performed by the conga when it enters. The other instruments (with the exception of the snare drum) all play the same 25 note pattern either in an augmented (mostly) or diminished note durations so as the pattern can last as long as 16 bars or as short as a bar.
The piece gradually builds as more instruments enter the fry and the volume increases. The piece ends when all of the instruments reach the end of their pattern at the same time at the down beat of letter "G".
While specific instruments are indicated in the score, performers should feel free to substitute instruments with what they have available; keeping in the relative "pitches" and the decay characteristics of the instruments in mind.
Ursus Demens
Note: The score's indicated duration of 4'33" was not planned nor intended, it just randomly happened.
Wednesday, April 08, 2009
Pure Atonal Music
I have revised my piece “November Second”, completely redoing the ending, along with various minor changes throughout the piece. The title comes from the fact that I wrote the first version on 11/02/2005 and has no deeper meaning, and is a result of me not finding another title that I like.
The score can be difficult to follow as it uses, for lack of a better term, nested repeats. I have tried to indicate on the score where the repeat “goes back to” when it might not be obvious. Also with a break from normal nomenclature sections that repeat more than once are indicated at the end of the section, not the beginning of the section.
The MP3 gives the best listening experience as i use more sounds and articulations than is defined in the General MIDI sound specification.
Program Note:A simple experiment in time.
Please listen to the MP3 file to hear all of the different timbres.
A piece in search of a title.Please send me your suggestions on a new title for this piece.
Revised Spring 2009:
Piece slightly expanded, with a completely new ending. New MP3 upload.
Score:http://www.sibeliusmusic.com/cgi-bin/show_score.pl?scoreid=77133
MP3:http://www.sibeliusmusic.com/cgi-bin/show_score.pl?com=streammp3&scoreid=77133
Wednesday, March 25, 2009
Friday, February 27, 2009
...and into dust you shall return.
Score:
http://www.sibeliusmusic.com/cgi-bin/show_score.pl?scoreid=139568
MP3:
http://www.sibeliusmusic.com/cgi-bin/show_score.pl?com=streammp3&scoreid=139568
This piece started when I challenged myself to come up with a fugue subject that less than a fifth and was fairly simple rhythmically and very short. Previously my various fugue subjects tended to cover a large range and where long when compared to fugue subjects from the Renaissance. What I cam up with is a seven note subject that cover the interval of just a perfect fourth. Harmonically the subject is in the Phygian mode.
The subject is first stated by the cellos, followed in order by the violas, first violins, and finally the second violins. At letter [A], bar 23 a second subject is introduced by the second violins. This subject unlike the first subject covers the interval of a minor ninth. The second subject is then stated by the first violins, violas and final the cellos and basses together. The piece then slowly builds to the climax of the piece at letter [B], bar 39. Here the first violins play the fist subject while the second violins play a slightly modified version of the second subject. The violas are playing the first subject in inversion, while the cellos play a running sixteenth note patter and the bass play a pedal D#. The climax is held back not quick reaching its full potential, and soon peters out.
At bar 42 the piece slides into E dorian, with violins and viola passing around a Gregorian chant before coming to a rest on a E minor triad. After a brief pause the cellos play the first subject, now in D phygian. The violas then play the first subject while at the same time the second violins state the second subject. The last note of the second violins statement of the second subject in D phygian turns into the first note of the first subject in A phygian. Wile the second violins play the first subject, the first violins play the second subject, as with the second violins the last note of the first violins second subject turns into the first note of the first subject as the violas play the second subject.
The piece comes to an end after letter [D] with the Basses, cells, violas and first violins playing A (in four different octaves). In to this “perfect” structure the second violins enter playing Bb, just a half step above the violas. The second violins briefly play a Db before “resolving” to a C as the piece fades.
I am not 100 percent happy with the piece, as there are bits that feel forced, but I though I would inflicted it upon the world and see what happens.
The piece makes use of non-standard dynamic markings, the key to them is below.
Thank you for listening.
Note: The MP3 recording is a preliminary mix and stills needs to be mastered.
http://www.sibeliusmusic.com/cgi-bin/show_score.pl?scoreid=139568
MP3:
http://www.sibeliusmusic.com/cgi-bin/show_score.pl?com=streammp3&scoreid=139568
This piece started when I challenged myself to come up with a fugue subject that less than a fifth and was fairly simple rhythmically and very short. Previously my various fugue subjects tended to cover a large range and where long when compared to fugue subjects from the Renaissance. What I cam up with is a seven note subject that cover the interval of just a perfect fourth. Harmonically the subject is in the Phygian mode.
The subject is first stated by the cellos, followed in order by the violas, first violins, and finally the second violins. At letter [A], bar 23 a second subject is introduced by the second violins. This subject unlike the first subject covers the interval of a minor ninth. The second subject is then stated by the first violins, violas and final the cellos and basses together. The piece then slowly builds to the climax of the piece at letter [B], bar 39. Here the first violins play the fist subject while the second violins play a slightly modified version of the second subject. The violas are playing the first subject in inversion, while the cellos play a running sixteenth note patter and the bass play a pedal D#. The climax is held back not quick reaching its full potential, and soon peters out.
At bar 42 the piece slides into E dorian, with violins and viola passing around a Gregorian chant before coming to a rest on a E minor triad. After a brief pause the cellos play the first subject, now in D phygian. The violas then play the first subject while at the same time the second violins state the second subject. The last note of the second violins statement of the second subject in D phygian turns into the first note of the first subject in A phygian. Wile the second violins play the first subject, the first violins play the second subject, as with the second violins the last note of the first violins second subject turns into the first note of the first subject as the violas play the second subject.
The piece comes to an end after letter [D] with the Basses, cells, violas and first violins playing A (in four different octaves). In to this “perfect” structure the second violins enter playing Bb, just a half step above the violas. The second violins briefly play a Db before “resolving” to a C as the piece fades.
I am not 100 percent happy with the piece, as there are bits that feel forced, but I though I would inflicted it upon the world and see what happens.
The piece makes use of non-standard dynamic markings, the key to them is below.
- Key To Non-Standard Symbols
ppp! As soft as possible
P+ Between P and MP
MP- Between MP and P
M Between MP and MF
MF+ Between MF and F
F+ Between F and FF
Thank you for listening.
Note: The MP3 recording is a preliminary mix and stills needs to be mastered.
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