Impression No. 4

I finally had the needed time to work on Impression No. 4 this last weekend. Since my last update where I said I was 50 percent done with it, I had to ripped out about half of the done work and start over again. Impression No. 4 is by far the most complex of the movements. At this point I estimate that about 80 percent of the material for Impression No. 4 has been written and now it is just a matter of refining and polishing it before moving on to the recording and mixing of the piece.

Impression No. 3

 

Third in a planned set of five Impressions.

Intense, very fast, unrelenting.

Impression of what you ask? That is up to your mind and ears to decide. Listen to this piece in a clam and quiet spot, close your eyes and let the music take your imagination on a trip.



Impression No. 3
https://soundcloud.com/ed-w-sharpe/impression-no-3

Abstract No. 11

  
Abstract No. 11

Abstract No. 11



My Gallery

Impression No. 2

Second in a planned set of five Impressions. Impression of what you ask? That is up to your mind and ears to decide. Listen to this piece in a clam and quiet spot, close your eyes and let the music take your imagination on a trip.

         

Impression No. 2

Impressions

Work on my set of musical impressions continues.  I am currently mixing Impression No. 2 and I have finished writting/composing Impression No. 3.  And I will begin mixing it after I have finished mixing Impression No. 2.

Impression No. 4 is about 50 percent written,  just need a block of several uninterrupted hours to finish it.  I have not yet begun working on Impression No. 5, which will be the last one in the set.

Impression No. 1

Impression No. 1

First in a planned set of seven Impressions. Impression of what you ask? That is up to you and your ears to shape. Listen to this piece in a tranquil and quiet spot, close your eyes and let the music take your imagination on a trip.

Impression No. 1

One Eighty Five

Well I have started working on a new piece for big band. The “head” is in a standard AABA form, but with some of my particular peccadillos. In the A section every fourth Bar (bars 4 and 8) are in 5/4 time (the rest of the bars are in 4/4 time). And the B section is nine instead of the traditional eight bars long. The B section is also built on a Tone Row and Tri-Chords.

The A section features the Vibraphone over a four bar bass ostinato; id est the bass ostinato is a 17 beat pattern that is played twice in each A section. In the B section the tri-chord change every three beats; thus we have a “harmonic” rhythm of 3 beats occurring over four beats of the drums and the melody and results in us having a nine bars of 4/4 for the B sections (4 X 9 = 36: 36/3 = 12: 12 tone row played 3 times (O,R,I).

The working title is “One Eighty Five”.

The First Time I Saw Her

Well I have gotten tried of messing wiht the mix for this Frankenstein Piece of Music, so here in all of its imperfections is The First Time I Saw Her
 
   
   

The First Time I Saw Her (Update)

Well I am the process of trying to get the balances better between all of the tracks.

I burned a test CD and put in the cat stereo yesterday. The problem is that I had let my son-in-law borrow the car and he had turn the bass all the way up, thus when the bass came in at bar seven it damn near rattled the car apart. :-)

Once I adjusted the bass it was fine, but there are several other places than need better balancing. I am working on it as fast as I can, but the wife has decided to do a major house cleaning and rearranging. The entire house is in chaos this week!

The First Time I Saw Her!

The current piece of music that I am working on is a bit of a Frankenstein Piece of Music. It is not about Mary Shelley’s Monster nor is it about Edgar Winter’s piece of that name; but from the fact that it comprises material from several pieces that that have written over the years.

The title comes from a set of theme and variations for piano that I wrote in the late 1970’s. And the six bar prelude (intro) of the piece is a re-orchestration of one of the variations. Other than the title and those six bars no other material from that piece is used. The bass line is derived from a common Baroque passacaglia pattern. In 3/2 meter the bass is laid over a six bar drum and bass patter in the drums. The main theme is a E minor pentatonic theme that I wrote for string orchestra when I was doing my music blog pieces in the winter of 2004/2005. The second theme is from a stench I had done last year (or the year before) but had never done anything with. The rest of the material comes from various fragments from by note books along with some new material (the 9/8 sections is new). I am still working on the mixing of the piece and I should have at least a rough mix within a week. A score will take a bit more time as another aspect of the Frankenstein nature of the piece is that only some of the music is currently in score format and some of it was directly played into Sonar so I will need to bring those bits back into Sibelius to get a final complete score, that is if I feel motivated to do so.

Stay tune and I will let know when there is something to listen to.

Ursus Demens

The silent voices

    

The silent voices

and echoing memories

of those who have gone

    

 

waiting

I am sitting here in my hospital room waiting for the nurse to bring me my 4mg of morphine.