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Just a little rough draft (now 2nd draft, actually) of a first movement. Normally, I would not consider this derivative little piece of Baroque pastiche of great enough compositional importance or interest to share on this forum. I had initially intended the harpsichord to follow the flute with its own solo sections, resuming its continuo role when not in that function. Then, inspired perhaps by Lachenmann's "world of sound", the notion occurred to me that perhaps Avant Garde itself could function as the third soloist.

This might indeed serve as the common ground between progress and tradition, the desperately sought after compromise between the bold new frontier of sound and the time proven practices of our past.

Note: sound file was updated on 10/25/16 - I think I got it now!

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Kinda fun, in a Peter Schickele sort of way.. Though i think some rooster and peacock calls, and a few brays, might have a place in your piece.

Sincerely, Meirza R Ichi.

Just doing my part to span the ideological divide, you know. If you have an animal sound VST bank with presets for Kontakt, and you'd like to send it along, I'd be more than happy to meet your request.

gregorio X said:

Kinda fun, in a Peter Schickele sort of way.. Though i think some rooster and peacock calls, and a few brays, might have a place in your piece.

Sincerely, Meirza R Ichi.

This was delightful.

Well, I've got mixed feelings about that, Dave. On one hand I'm happy you enjoyed it, but my new Avant Garde side feels quite disappointed in myself that you understood any bit of it.

I'm just going to have to work harder, until this is completely unintelligible.
 
Dave Dexter said:

This was delightful.

There wasn't a single second that bypassed my understanding. On a second listen, the majority appears to be a disgusting adherence to tonal concepts long since rejected by the most highly regarded composers of our time; Linden Wicker, Boris Johnson-Farage, James "The Unopened Jar Of" Nutmeg and Sevastopol "          '   '           "-"      " Derek "Five-names" Wallpaper (Snr). I thought we were cool. What the fuck are you playing at

Kristofer Emerig said:

Well, I've got mixed feelings about that, Dave. On one hand I'm happy you enjoyed it, but my new Avant Garde side feels quite disappointed in myself that you understood any bit of it.

I'm just going to have to work harder, until this is completely unintelligible.
 
Dave Dexter said:

This was delightful.

I heard Bach influenced by Tim Burton.

anyone remember Steve Allens show ' meeting of the minds'?

It didn't survive long, but was an interesting concept for a show.

maybe it was a bit too avante -garde.    RS

It was fun, and I actually quite like the "sound effects". But I think (1) the reverb spoiled it, and (2) there aren't enough virtuosic cadenzas of said sound effects. The vocabulary of sound effects is also sorely limited to the variety employed by would-be avant gardists in kindergarten; I highly recommend inserting sounds produced by smashing a violin with a sledgehammer, a detuned piano after being underwater for 5 hours, the sound of shuffling shoes, and an excerpt from Cage's 4:33 (and I'm not talking the silence part, but the concert hall noises during the excerpt, like patrons coughing, shuffling in their seats at the uncomfortable thought that they may have just been swindled of their concert ticket fare, cellphones ringing when they ought not to), etc..  And where are the string section cluster chords and wailing slow vibratos ala Penderecki?

OTOH, I suppose you could insert television static noise (except nowadays it may not be so readily available unlike the old days where you disconnect the antenna or just wait for a thunderstorm) in lieu of all the complicated sound effects I described. The question is, would the audience be able to tell the difference? Would they care?

Kristofer, i like the idea 'to span the .. divide' - which is mirrored in your piece…  (i've written some pieces with that idea lurking.. but have received scant little in response here when i post them :(

I appreciate your forthrightness in inviting me to contribute… i mostly mention the rooster. etc. as a way of characterizing the way i see you employing the AG part: in a somewhat playful way.  (regrettably, i have no animal sound VST bank  )

following HS -  a creaky  door, the 'ahh' sound of opening a bottle of mineral water, a car's turn signal, a reel to reel at the end of the rewind..

Kristofer Emerig said:

Just doing my part to span the ideological divide, you know. If you have an animal sound VST bank with presets for Kontakt, and you'd like to send it along, I'd be more than happy to meet your request.

gregorio X said:

Kinda fun, in a Peter Schickele sort of way.. Though i think some rooster and peacock calls, and a few brays, might have a place in your piece.

Sincerely, Meirza R Ichi.

I had only a short time to complete this, like yesterday, and spent no time on production details and almost all of it writing. I basically loaded the instruments into my notation and let 'er rip. Hence the muddy sound; the default reverb settings were left as is. 

I did do a quick search for sound effect VSTs, but didn't really find any complete banks I could load and use, without actually manually constructing a custom instrument by loading individual samples into Kontakt. I considered that option, but quickly dismissed it as too time consuming; I'm writing multiple projects at present.

If I had some good FX VSTs, with more absurd sounds, I'm sure I would have found use for them here.

I did not go into long AG soloist sections, both because I was pressed for time, but also, because I really didn't want to lose the momentum, or have the listener forget where the music was headed before the abrupt interjection. Just a brief, awkward pause, something profoundly strange happens, then right back into it. Anyway, I had a lot of fun doing it.
 
H. S. Teoh said:

It was fun, and I actually quite like the "sound effects". But I think (1) the reverb spoiled it, and (2) there aren't enough virtuosic cadenzas of said sound effects. The vocabulary of sound effects is also sorely limited to the variety employed by would-be avant gardists in kindergarten; I highly recommend inserting sounds produced by smashing a violin with a sledgehammer, a detuned piano after being underwater for 5 hours, the sound of shuffling shoes, and an excerpt from Cage's 4:33 (and I'm not talking the silence part, but the concert hall noises during the excerpt, like patrons coughing, shuffling in their seats at the uncomfortable thought that they may have just been swindled of their concert ticket fare, cellphones ringing when they ought not to), etc..  And where are the string section cluster chords and wailing slow vibratos ala Penderecki?

OTOH, I suppose you could insert television static noise (except nowadays it may not be so readily available unlike the old days where you disconnect the antenna or just wait for a thunderstorm) in lieu of all the complicated sound effects I described. The question is, would the audience be able to tell the difference? Would they care?

I may have to seek the tutelage of Herr Lachenmann to shatter my indoctrination towards gratuitous bourgeois sentiments of beauty.
 
Dave Dexter said:

There wasn't a single second that bypassed my understanding. On a second listen, the majority appears to be a disgusting adherence to tonal concepts long since rejected by the most highly regarded composers of our time; Linden Wicker, Boris Johnson-Farage, James "The Unopened Jar Of" Nutmeg and Sevastopol "          '   '           "-"      " Derek "Five-names" Wallpaper (Snr). I thought we were cool. What the fuck are you playing at

Kristofer Emerig said:

Well, I've got mixed feelings about that, Dave. On one hand I'm happy you enjoyed it, but my new Avant Garde side feels quite disappointed in myself that you understood any bit of it.

I'm just going to have to work harder, until this is completely unintelligible.
 
Dave Dexter said:

This was delightful.

gregorio X said:

[...] following HS -  a creaky  door, the 'ahh' sound of opening a bottle of mineral water, a car's turn signal, a reel to reel at the end of the rewind..

Hmm, now that I think about it, is that why modern electronic keyboards come equipped with a soundbank of screams, applauses, helicopter and gunshot sounds, footsteps and creaky doors? Methinks this idea of bridging the divide may not be quite new after all. ;-)

On a (slightly) more serious note, though, I've actually thought about a serious composition in which "boring old tonal" thematic material is accompanied by modern "sound world" effects in a complementary way.  My Threnody had some elements of that (though it didn't quite go "far enough", in that actual musical notes were still used in the less traditional parts, rather than, say, twanging an exposed piano string with metal brush or some such "modern technique").

HS, I've fixed the audio up a little bit, and re-uploaded. Enjoy

Hopefully this is more to your liking. It's still not professional grade, but it's about 300% better than the first. Almost listenable.

H. S. Teoh said:

gregorio X said:

[...] following HS -  a creaky  door, the 'ahh' sound of opening a bottle of mineral water, a car's turn signal, a reel to reel at the end of the rewind..

Hmm, now that I think about it, is that why modern electronic keyboards come equipped with a soundbank of screams, applauses, helicopter and gunshot sounds, footsteps and creaky doors? Methinks this idea of bridging the divide may not be quite new after all. ;-)

On a (slightly) more serious note, though, I've actually thought about a serious composition in which "boring old tonal" thematic material is accompanied by modern "sound world" effects in a complementary way.  My Threnody had some elements of that (though it didn't quite go "far enough", in that actual musical notes were still used in the less traditional parts, rather than, say, twanging an exposed piano string with metal brush or some such "modern technique").

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