Here's That that
And here's a mockup: that that
Sunday, 12 November 2017
Madrigal - That that
Another WEIRD madrigal... hmm 'Weird Madrigals' might be a good collective title, although 'Very-difficult-to-sing Madrigals' still seems to be more true. Also, as my first one was called Ladybird Ladybird and as the next one I have in mind is called Police police I'm now desperately searching for more texts with two-word titles.
Here's That that
And here's a mockup: that that
Here's That that
And here's a mockup: that that
12 Two bar fluctuating tempo.
Soup,
So late last night I started working on what will be my first attempt at larger scale work using my max objects. I started developing a precise rhythmic cell that has 4 (tomorrow I will be trying to make it converge 6) convergence points between a steady and fluctuating tempo across 2 bars. Making this was some srs hardc0r3 excel spreadsheetz.
So the accelerating voice has 32 16th notes across two bars, where the 10th lines up with beat 3 and the 17th with beat 1 of steady voice. The reverse takes place in the second bar. It's just expressed on percussion now so I can easily here all the voices, this will be transferred to melody stuff later this week.
Here's the audio:
So late last night I started working on what will be my first attempt at larger scale work using my max objects. I started developing a precise rhythmic cell that has 4 (tomorrow I will be trying to make it converge 6) convergence points between a steady and fluctuating tempo across 2 bars. Making this was some srs hardc0r3 excel spreadsheetz.
Here's the audio:
Commissions? Contracts? Bach/Rachmaninov!
Different sort of post today, although I might try to do some composing later...
I recently experienced a reminder of why it's good to get money-4-music details in writing, in advance. I'm a lucky boy to get commissions the way I do, but I've had quite a few go wrong, and it's always sad to feel undervalued. As a matter of fact, my recent upload Elysium was composed for a hand-shake-agreement commission that never paid up.
I attended a talk given by the vice president of concert music from ASCAP (the U.S. affiliate of APRA, for the Aussies in the room) and she advocated strongly for composers to make their own contracts, even in commissions amongst friends. Her point was mostly about copyright: composers must hold onto their copyright, especially when we don't all have litigious publishers to do it for us.
I'm probably preaching to the choir here, so forgive me: I've been using a version of this contract for a few years, and I thought I'd share it here. All it takes is a reassuring smile and a 5 minute discussion to fill it out, and your rights will be secure.
Contract template here:
And just because it makes me feel so good, here's another excerpt from the recording sesh last night with Vatche:
I recently experienced a reminder of why it's good to get money-4-music details in writing, in advance. I'm a lucky boy to get commissions the way I do, but I've had quite a few go wrong, and it's always sad to feel undervalued. As a matter of fact, my recent upload Elysium was composed for a hand-shake-agreement commission that never paid up.
I attended a talk given by the vice president of concert music from ASCAP (the U.S. affiliate of APRA, for the Aussies in the room) and she advocated strongly for composers to make their own contracts, even in commissions amongst friends. Her point was mostly about copyright: composers must hold onto their copyright, especially when we don't all have litigious publishers to do it for us.
I'm probably preaching to the choir here, so forgive me: I've been using a version of this contract for a few years, and I thought I'd share it here. All it takes is a reassuring smile and a 5 minute discussion to fill it out, and your rights will be secure.
Contract template here:
And just because it makes me feel so good, here's another excerpt from the recording sesh last night with Vatche:
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