Music Composers Unite!
It was written some time ago while experimenting, instead of setting words to an accompaniment the voice would be part of the ensemble on equal terms, the words supplementary more or less. Over these past couple of days I revised it and mocked up the score.
I’m afraid the vocal part is la-la-lah’d - as often the case with these midi pieces but I’ve tried to shape it to the words. Aside from the voice the ensemble is 2 violins, viola, cello, flute, oboe, clarinet and horn.
If you can afford the time to give it a listen and comment on whether it works or not, that would be totally appreciated.
I’ve posted the ensemble score and a consolidated short score (without the dynamics) Both scores are a bit messy when 1/16 notes clutter together but it should show what’s going on. Alas I have no control over the pdf.
The words are:
in a night profane
lie forever on a starlit lawn
amidst the falling petals.
deep in that arabesque of paths
always the paths the trees
hid the night from us
as we walk
amidst the falling petals
where first our bodies lay.
Many thanks indeed for listening. I'm glad you found the work ok and it made sense. Pleasing also you think it's worth looking around for a soprano to dub the part in and I suppose it's feasible if I put a "guidance" track in the recording (maybe a piano or something to bring out the notes) to make it easier.
Yes, the score came from Reaper. I've avoided MuseScore as I haven't yet waded through the terms and conditions. Trying to manage cookies seemed a right headache. When time allows I'll have another look. If a score might just have prospects I still write it by hand using Reaper's score as a guide. I have my eye on notation software - it has to do all I want it to - but it'll have to wait until money comes available! Isn't that always the case!
I've been inspired by Elisabeth Lutyens...making mention in the post below.
Again, thank you for listening and your commentary,
Ali - hi, again,
Yes, I mentioned her as a possible influence and almost unique among her contemporaries. I have many recordings of her music but was surprised to see so much of her work on Youtube. 5 years ago there was far less. At last her work is being recognised. Prompted by your list of links, I played my recording of "And Suddenly it's Evening." Something I should never have done! There's also "Elegy to the Flowers". A recording may be on the British Music Collection list. I took mine off air some years ago and it's pretty good. She's a composer I really should avoid right now!
All the best,
Ali Riza SARAL said:
Thank you Dane for mentioning Elisabeth Lutyens:
Lots of stuff to ponder upon.
This again evokes wild imagery in my head. Why is it your music is best enjoyed with eyes closed? I don’t understand the musical structure but I know it works as the type of music it is. Strange how rather than stimulating my emotions I came away with more of a perplexed feeling. Like I just studied the math of some physics problem and thought “Ohhh, so that’s why it works the way it does”. If that sounds cold, I assure you it’s not. It’s just that your music doesn’t push my standard emotional response buttons. Maybe, for me, your music tends to stimulate my left brain. As if my right brain (my default musical point of entrance) shoots it over to my left brain saying; “I don’t know what to make of this, it’s obviously music, but the melody neurons over here are just not firing so I’m wondering if you can help out.” That’s it Dane! Your music goes directly to my left brain and sits at the same dinner table as those abstract algebraic neurons with all their unknown variables and whatnot. And they dig it!
Hi, Rick - and thanks for listening and entering the fray!
Well, I have to confess it wasn't meant to work at an emotional level (any more than combinations of sounds can). So, no surprise.
It's a whimsical effort with kind of history, one of a few pieces that arose from setting poems of sorts from a 1968 Pirelli Calendar I picked up somewhere. It contained several Haiku (my first encounter with them) which gave me a challenge. Trying to combine music with such short statements/poems/messages wasn't going to be easy if they were to last more than a minute each. Two other pieces spun off the project, not on the calendar, this being one.
It's not "usual" music for me (have to admit). The name Elisabeth Lutyens cropped up and I suppose if I were going to write songs they'd be more along the lines of "O Saisons, O Chateaux" closer to abstract. In fact I was foolish enough to listen to a couple of her things as a result of this thread. Not that I could ever match Ms Lutyens but I find her style contagious. I tended to revere her in my formative days as you do Sir Paul.
So your comment comes as no surprise. And I don't regard it as negative. It's your viewpoint which is as valuable as anyone else's, be sure.
You may find my "music for dance" a little closer to the abstract you mentioned! But I won't presume on your time.
Thanks again and...
Thank you for that. I'm interested. I'll look up this choir before asking questions about how it works so not to put you to unnecessary work. But I may have to come back.
[Edit] Ok, found their site but it doesn't tell me much about getting parts dubbed in. I'll go a bit deeper.
I saw something on Facebook. The moment the page came up Fb wants me to agree to updated terms and conditions. Since I don't have a F/b account for the very reason I can't be bothered to wade through 300 pages of close-typed T&C, I couldn't proceed further with that! The traps are always in the small print.
Gav Brown said:
Dane, I recently hired The Happy Choir to record vocals for some songs I wrote and was satisfied with the results
It's a bit tricky to follow the score on screen, but I enjoyed the overal performance a lot. The style is a bit off my doings, but that doesn't necessarily mean that I don't like it, quite at the contrary. Mainly the instrumentation and the sound of the instruments pleases me a lot. The voice sounds somewhat strange and very artificial, but that's the case with most sampled voices and choirs. The only thing that could improve is the placement and recording of the ensemble. It seems a bit too horizontal (only L and R and very little depth), which covers the solo voice from time to time and you correct this by volume. Depth can be the answer to that. Have you used a convolution or IR plugin?
The listen was a nice surprise! I hope to hear more like this.
Well, many thanks for listening and your commentary. I often listen to efforts here outside my own sphere and I find it helps broaden my range, so thank you for that. I like to think I'm eclectic but there's always more to absorb. I wouldn't say this piece is typically 'me'.
Yes, the soloist voices just like the choir are a problem which I'm a long way off mastering. I had to make a start somewhere and this was it. I may try a wordless Cantata Profanae or some such once I've got another project out of the way. The difficulty with this piece was the balance - giving the voice presence. I tried several things...still experimenting with the 'spread'. I could have wasted my money buying this library (it came up at a cheap sale this month). Only time will tell.
I'll have another look at the panning and sound stage.
Again, many thanks,