Elysium - Live Recording

Today I thought I'd share the live recording from a concert on Monday, in which my lovely friends Katie McKay and Vatche Jambazian played the third mvt of my viola sonata, entitled Elysium.

Score & recording, in dropbox: https://www.dropbox.com/sh/83oq4bj9kkl7j9i/AACLA_rzICKNUGC2BQOsK1nFa?dl=0

Contraflunctus continued

Made two versions of the opening Fl. 1 line for an episode - not sure I like either. I'll make a few more tomorrow and see if the iterations lead to "the right one." This feels like one of those moments where things go slowly for a bit, then POOF! the piece is done. Here's to hoping!

Day 9: Pressing softly

Had an interesting experience today where I really wanted to play the piano at Toby's house, but it's outside his Dad's office. I did anyway, but I definitely felt a lot more cautious than I normally do when starting an improvisation and don't think I ever escaped hearing things via osmosis through a busy man's ears. Resulted in musical choices I may not have otherwise made and a general hesitance in the ideas. Turned out more sweet than stressful, I think!

09 Accelerating Noise

This soundscape was made by having samples of looped noise from Ableton's operator accelerate so rhythms become pitches. Some cool sounds emerged!

Variations on The Apricot Tree III - Arabesque

Another time-consuming variation. I swear, the next one's going to be a four part harmonisation.

Fell Asleep Yesterday. Whoops

Yesterday I slept through my alarm in the morning, made it to work okay, worked on Contraflunctus after 9pm after putting the baby to sleep, waited for my wife to get home who has a better phone for music pictures, but fell asleep and so didn't post! Progress yesterday: I rewrote the last beat from the previous day and finished what I think is some kind of wonky sequence, #Contraflunctus.

This morning, setting up the scaffolding with ascending arpeggiations to move the harmony while introducing what will be a dizzy augmentation of the opening flute 1 part over various figurations in the other parts - I'll call it 7th species cpt.

It's really fun working on music that "obeys," pokes, and laughs at cpt rules while trying to work through my own intuitive sense of vertical/horizontal note relationships. It feels great to be shedding years of obeisance to THE RULES. I bet Bach had MoM every month, thus creating unstoppable cpt powers. Cpt is musical crossfit.

Day 8: 081

I had a great time workshopping this with Oli a couple of weeks ago. Just got to notating it today.

08 Polyrhythm sliding

Yellow,

This one is a development from a week ago. The idea is to "slide" a rhythm through an accelerando to a new tempi to create a polyrhythm against another voice.

I'm going to keep working with this idea over the month and see what I can develop from it.

hey guys!!!

soooooo I have been pretty stressed out so I missed a couple of days-- I did the last of these three Sara Teasdale settings... brought back some themes and things... I found it hard to set the end of the text because I'm not religious but want to honor Sara Teasdale's faith (seems like it was pretty important to her)

I can't be fucked to do dynamics/articulations at this moment, so I'll have to do them tomorrow!

By the way guys, everybody is killing it, I'm loving all your stuff!! xx

p.s. i messed up the tempo derp, should be a bit faster starting at I will raise it. argh

Apricot Tree variation no.2 - stupid idea, never try this

Never try to do this in Sibelius, entirely bad idea.

Day 7: Sliced Marais ready to go

Hi everyone,

Today's work was getting the Marais happening on my website. I made a Demo video which I think will be very helpful in making it approachable.

Please head to my site to have a look!

Let me know how you go setting up the installation. It's worth having it going for an hour or so (even if most of that is on mute) because it gets JUICY AF after a while.

I had a great lesson with Paul (Stanhope) today where he gave me some awesome advice on how to progress with my large ensemble piece. I did a little bit of work on it but will upload once I've done more and make a day of it!

Much love to you all.

07 71117

What a beautiful number today's date is! Unfortunately this composition has no intentional number significance with it at all. I'm sure there's some numerology in there if you look deep enough. This was composed by improvising a melody and working through the harmony slowly at the keyboard. I intend for it to be part of a larger form, perhaps a C of an AABC jazz form.

Mourning Song for Cor Anglais

Final piece in my Elegiac Suite. Time to trim and tuck, and then move on to more things tomorrow!

Day 6: Pouring some continuo over the deconstructed Marais

Hey mates, keen to hear thoughts on the way I've used the continuo line here. I'm starting to feel it was better when the thing was sparse and full of silence. I guess when it's it's own youtube video it could just be turned down or off.

Contraflunctus 11/6

Difficult morning, but I love the one measure and the ideas swimming around as a result.

06 Risset Rhythms 2

Alright getting closer now... Insert "MAXed out" pun here.

I'll give it another dig over the week. Tomorrow I'm writing something non-computery.

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Sketch

Sorry for getting so personal even though I don't know anyone who is going to read this! I think this piece is my way of expressing watching my baby grow up faster than I think I'm ready for - there are lots of experiences we're not ready for but happen. It's an incredible experience watching a new person experience the world. I think it's why the movies Up and Inside Out are so powerful despite being disguised as kids' movies. I think one of the challenges of this piece is going to be keeping a sense of beauty while at the same time learning how to musically express discovery and an evolving experiential being. Also, I don't have a text so that will just have to come later as the words seem right, but I know I want a voice in there somewhere.

Musically, it's looking like diatonicism is functioning as a beginning state and each level of harmonic modulation and discovery adds new dimension to the experience: the F# being lifted out of the initial F harmonic area, moving the harmony to G, G# and C# suggesting and arriving in an A territory, but with Bb reflecting on F, and so on.

Notes so I know where to continue from next time I sit down to write:
*each part becomes active then examines harmonies and newness
*relationship between beautiful and painful developments
*some sections moved to before being fully prepared, some fully aware

Danza Alta for Cor Anglais

Cor anglais piece no.4, one away from being done with this I think!

more teasdale more contralto

Hi guys! I'm trying extending text more, rather than always doing syllabic word for word setting.

05 Risset Rhythms

Aight so I'm going to try and wrap my head around Risset Rhythms and understand them on a fundamental level over the next few days.

What it sounds like:
https://www.youtube.com/watch?v=oQf_tS5WAP4
http://www.timohoogland.com/risset-rhythm-effect/

Maths governing it:
http://c4dm.eecs.qmul.ac.uk/papers/2011/Stowell2011icmc.pdf

What I started with:
https://cycling74.com/articles/risset-glissandos-and-strange-loops-2

What I came up with on max today:

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