26 Oct
2006
26 Oct
'06
8:27 p.m.
Greetings:
http://www.archive.org/details/TrioForFluteGuitarAndBassoon
Unpeaceful music for disturbed dancers. Another imaginary piece, not
humanly playable without a boat-load of edits.
Unfit for dissonance-challenged adults. Use with caution. Keep away from
children.
Best,
dp
26 Oct
26 Oct
8:48 p.m.
Hello Dave,
Cantator inelegans, sed compositor magnificus.
Unfit for dissonance-challenged adults. Use with
caution.
Keep away from children.
Well, how dissonant this is perceived to be is just a matter
of previous exposure to all the wonderful dissonants in this
world. And I see no reason to keep it away from children,
unless you want to keep them dumb.
In other words, I enjoyed this as much as the Promenade and
the Sonatina. Many thanks for all of them !!!
--
FA
Lascia la spina, cogli la rosa.
8:52 p.m.
Dave Phillips wrote:
Greetings:
http://www.archive.org/details/TrioForFluteGuitarAndBassoon
Unpeaceful music for disturbed dancers. Another imaginary piece, not
humanly playable without a boat-load of edits.
Unfit for dissonance-challenged adults. Use with caution. Keep away from
children.
I like it. My ear must be weird, but it doesn't sound nearly as
dissonant as your description makes it out to be. Perhaps it's because
the three instruments used blend well together.
--
David
gnome(a)hawaii.rr.com
authenticity, honesty, community
10:25 p.m.
On Thu, 26 Oct 2006 18:54:50 -0400
Dave Phillips <dlphillips(a)woh.rr.com> wrote:
Greetings:
http://www.archive.org/details/TrioForFluteGuitarAndBassoon
Unpeaceful music for disturbed dancers. Another imaginary piece, not
humanly playable without a boat-load of edits.
Unfit for dissonance-challenged adults. Use with caution. Keep away
from children.
Dave,
Any chance to hear this tune performed (yeah, this would be a
performance) on the intended acoustic instruments ? I'm sure you know
someone eager and able to put a few mics on spot and catch a brillant
interpretation of this unique piece.
This is rather complex music but it deserves to be played by humans,
don't you think ?
Best,
dp
Thanks for sharing.
--
David
27 Oct
27 Oct
11:07 a.m.
David wrote:
[snip]
Any chance to hear this tune performed (yeah, this would be a
performance) on the intended acoustic instruments ? I'm sure you know
someone eager and able to put a few mics on spot and catch a brillant
interpretation of this unique piece.
This is rather complex music but it deserves to be played by humans,
don't you think ?
If the ranges are do-able it might be a playable piece. When I concern
myself with playability I usually get out my trusty
instrumentation/orchestration guide to determine what I can get away
with. Alas, I paid no such attention while composing this piece. I'd
also have to get my butt in gear to score it, and that might take a
while (the score might look pretty cool though ;).
Btw, in case anyone is interested, the music is based on free
manipulation of a 12-tone row. Obviously I've not shied away from tonal
references. The manipulation is sometimes very free, oscillating between
using the row as a pitch collection and as an interval series. The row
was treated sometimes linearly and sometimes vertically, i.e. sometimes
for counterpoint and sometimes for harmonic resources.
I've written a lot of other chromatic music, I'll post some later.
And as always, thank you for taking the time to listen to my music.
Best,
dp
10:39 a.m.
On Thu, Oct 26, 2006 at 06:54:50PM -0400, Dave Phillips wrote:
Greetings:
http://www.archive.org/details/TrioForFluteGuitarAndBassoon
Unpeaceful music for disturbed dancers. Another imaginary piece, not
humanly playable without a boat-load of edits.
Unfit for dissonance-challenged adults. Use with caution. Keep away from
children.
Really a nice one, Dave.
--
Paul Winkler
http://www.slinkp.com
12:25 p.m.
On 10/26/06, Dave Phillips <dlphillips(a)woh.rr.com> wrote:
Unpeaceful music for disturbed dancers. Another
imaginary piece, not
humanly playable without a boat-load of edits.
Unfit for dissonance-challenged adults. Use with caution. Keep away from
children.
Best,
dp
Dave,
*Very* nice work, very enjoyable. Dissonant without being annoying.
Schoenberg had nothing on you. :)
I'd like to see the score on this.
--
Josh Lawrence
http://www.hardbop200.com
12:34 p.m.
Le 27 Oct à 09:25, Josh Lawrence ecrivait:
*Very* nice work, very enjoyable. Dissonant without
being annoying.
Schoenberg had nothing on you. :)
I'd like to see the score on this.
I agree :). One thing particularly difficult, IMHO, was to obtain
such a neat and clear sound in the low medium of the guitar, with the
Bassoon also playing (I mean writing this, not simply playing and
mixing). Really great piece :).
Y.
1:40 p.m.
What software did you use? The flute is brilliant, the guitar is wonderful,
andthe texture on the bassoon is great. How did you do it all?
On Thursday 26 October 2006 23:54, Dave Phillips wrote:
Greetings:
http://www.archive.org/details/TrioForFluteGuitarAndBassoon
Unpeaceful music for disturbed dancers. Another imaginary piece, not
humanly playable without a boat-load of edits.
Unfit for dissonance-challenged adults. Use with caution. Keep away from
children.
Best,
dp
2:59 p.m.
Jonty Needham wrote:
What software did you use? The flute is brilliant, the
guitar is wonderful,
and the texture on the bassoon is great. How did you do it all?
All instruments are from the 8mbgmsfx.sf2 soundfont, played via QSynth.
The output from QSynth is routed to Jack Rack running the Versatile
Plate Reverb LADSPA plugin. I recorded the original stereo WAV routing
Jack Rack's output to ecasound.
The MIDI sequence was created in Sequencer Plus Gold, running under
DOSemu. I've been using this sequencer since 1985, by now it's a
familiar instrument.
I've written elsewhere in this thread re: the composition itself. It's
basically a series of more-or-less related improvisations on a 12-tone row.
Best,
dp
3:07 p.m.
Dave, here's a question for you:
Where did you learn about composing using the 12-tone row?
From the book by Schonberg? (sp?) From another source?
I'd like to learn something about this concept, but have never
run across a source...
Thanks,
John Lyon
Jonty Needham wrote:
What software did you use? The flute is brilliant,
the guitar is
wonderful,
and the texture on the bassoon is great. How did you do it all?
All instruments are from the 8mbgmsfx.sf2 soundfont, played via QSynth.
The output from QSynth is routed to Jack Rack running the Versatile
Plate Reverb LADSPA plugin. I recorded the original stereo WAV routing
Jack Rack's output to ecasound.
The MIDI sequence was created in Sequencer Plus Gold, running under
DOSemu. I've been using this sequencer since 1985, by now it's a
familiar instrument.
I've written elsewhere in this thread re: the composition itself. It's
basically a series of more-or-less related improvisations on a 12-tone
row.
Best,
dp
4:02 p.m.
John Lyon wrote:
Where did you learn about composing using the 12-tone
row?
Various books and scores, atonal ear-training, listening to a lot of
freely and not-so-freely chromatic music.
From the book by Schonberg? (sp?) From another source?
I started with Reginald Smith-Brindle's Serial Composition. Later I
studied useful texts by Charles Wuorinen, George Perle, Pierre Boulez,
many others. I'm also a big fan of Elliott Carter and Stefan Wolpe,
their music and their theoretical writings.
I'd like to learn something about this concept, but
have never run across a source...
IMO the best approach is to get familiar with some of the early
classics, especially the major works from Schoenberg and his students.
You can really help yourself by studying free-interval ear-training
(Modus Novus coupled with Solfege). Move on to Boulez's Le Marteau Sans
Maitre, his second piano sonata, and Pli Selon Pli. Check out how
differently the row concept was used by composers as diverse as Milton
Babbitt, Roger Sessions, and Aaron Copland.
Berg's operas are also mines of possibilities.
Best,
dp
5:52 p.m.
On Fri, 2006-10-27 at 14:29 -0400, Dave Phillips wrote:
John Lyon wrote:
i might also humbly add "Music of The Whole Earth" which will provide
you with a very big picture view of scales, intervals and tone selection
against which the various forms used in the west over the last 600 years
become merely a handful of possibilities amidst a sea of beauty. not a
help with 12 tone specifically, but it helped me see where it fits into
the ocean of the possible.
--p
Where did you learn about composing using the
12-tone row?
Various books and scores, atonal ear-training, listening to a lot of
freely and not-so-freely chromatic music.
From the book by Schonberg? (sp?) From another
source?
I started with Reginald Smith-Brindle's Serial Composition. Later I
studied useful texts by Charles Wuorinen, George Perle, Pierre Boulez,
many others. I'm also a big fan of Elliott Carter and Stefan Wolpe,
their music and their theoretical writings.
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12 comments
10 participants
participants (10)
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David -
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John Lyon -
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Josh Lawrence -
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Paul Winkler -
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