Composers' Forum

Music Composers Unite!

My ambition with Inertia was to make it lively and rhythmic. It has a counterpoint characteristic and reminds me of the scherzo form. There is a fugue in the end of the piece and like the scherzo it ends with something more.

It is not really meant to be classical but more like post-modern, like most of my music.

Inertia is an interesting expression, not reserved for the Physics science but means something that lags, something that do not keep up with changes. It felt like a proper title.

https://soundcloud.com/user-892939153/inertia

Views: 124

Reply to This

Replies to This Discussion

Hi Kjell,

Perpetuum mobile.  Certainly.

It is interesting how you use classic harmonies and on the other hand keep a piece flowing from beg to end.

Of course there are two ? points it comes to almost a halt and also loudness drops down, which is in my

opinion beautifully done.  Are these the weight of inertia, difficulty to move on can be heard.

Objection: Depth, echo is too much, also violins are too loud.  The other parts can not be heard clearly.

To keep the freshness would be easier with some serial approach. You may have chosen the difficult

way but certainly the freshness is good and there are some healthy reminders of the beg theme.

Cheers.

Ali

Very beautiful and you managed to keep the interest of the listener throughout the piece. It never felt boring or repetitious. I like how you several times let the first violins fill in the last leg of the previous theme as a launching pad for its own coming theme. Very well composed. The only objections from me also is the production. It’s not bad but it can always be better. I agree with Ali Riza’s points there.

Hi Ali,

thank you for your many interesting points. I try to be innovative here, which I also here in your music. It is exciting to experiment with so many tools at hand. In counterpoint music it is certainly a criteria that instruments are heard, I will look into that.

Kjell

Ali Riza SARAL said:

Hi Kjell,

Perpetuum mobile.  Certainly.

It is interesting how you use classic harmonies and on the other hand keep a piece flowing from beg to end.

Of course there are two ? points it comes to almost a halt and also loudness drops down, which is in my

opinion beautifully done.  Are these the weight of inertia, difficulty to move on can be heard.

Objection: Depth, echo is too much, also violins are too loud.  The other parts can not be heard clearly.

To keep the freshness would be easier with some serial approach. You may have chosen the difficult

way but certainly the freshness is good and there are some healthy reminders of the beg theme.

Cheers.

Ali

Thank you Lennart, glad you listened and liked it. I appreciate you noticed that special technique to start a theme before the previous one has ended. It is because of continuity.

Also good to get your comments on the production. When doing digital music one is composer and director at the same time. This is never a good idea since the composer hear things within him/herself. Probably this is what has happened here and therefore your and Ali's comments on this are valuable.

Kjell

Lennart Östman said:

Very beautiful and you managed to keep the interest of the listener throughout the piece. It never felt boring or repetitious. I like how you several times let the first violins fill in the last leg of the previous theme as a launching pad for its own coming theme. Very well composed. The only objections from me also is the production. It’s not bad but it can always be better. I agree with Ali Riza’s points there.

Beautiful, intricate and interesting piece.

Thank you very much, Stephen.

Kjell

Stephen C. Doonan said:

Beautiful, intricate and interesting piece.

Wonderful stuff, Kjell. Great flow, very organic feel to it. It has your typical sound, which I would describe as mysterious, shaded in dark but not drab colors, and at times almost secretive, veiled. I'm not sure if that makes any sense, but that's what I get from your music. In any case, it's always very enjoyable, as well as highly individualistic.

Very nice words, Michael. Thank you very much. It is like they enriches the piece through its poetic character. English is such a beautiful language when mastered in this way.

Kjell

michael diemer said:

Wonderful stuff, Kjell. Great flow, very organic feel to it. It has your typical sound, which I would describe as mysterious, shaded in dark but not drab colors, and at times almost secretive, veiled. I'm not sure if that makes any sense, but that's what I get from your music. In any case, it's always very enjoyable, as well as highly individualistic.

I thought it was nice enough but flooded out by too much reverb. 

All good, though.

Thank you, Dane. Yours is the second remark on reverb so I need to explore it, trying something different. I use the standard GPO for "Standard Concert Hall", i.e. I haven't tried to adjust anything myself. But maybe I could try a smaller hall, something like a chamber orchestra. I will repost if I find any improvement.

Thanks for your comment.

Kjell

Dane Aubrun said:

I thought it was nice enough but flooded out by too much reverb. 

All good, though.

I thought this was very well made. Enjoyed the listening experience.

Howdy, Kjell! This is my type-as-I-listen review of your piece. The title is intriguing, so I can't wait to give it a listen. Let's get to it...

I like the academic statement by the strings at the very outset, classy and refined, yet moving. Ah, the chromatic drops @1:00 are quite satisfying! I hear a clicking sound @1:35—is that an artifact, or actually part of the piece? The ritardando @2:00 is a grand transition to this middle theme, which I'm loving. The interplay of the bassoon and strings @2:45 as the main theme returns is nice. And now we've crescendoed back into our opening theme. I like the movement of this piece, as the title implies.

The entry of the clarinet @4:20 and restatement of the middle theme is quite touching. I find the unaccompanied strings @5:00 very refreshing. Oh, the harp is a nice surprise @6:00! And now the strings soar above the melody in triplets as the piece slows to stop.

I think your use of cresc. and dim. is handled masterfully here. It gives the piece an organic flow to it; there was never a jarring moment. I also appreciate the fresh use of traditional harmonies. I don't really have any critiques here. Perhaps it could use a little more variation to avoid some of the repetition, but it might end up altering the nice flow you have going.

Great job, Kjell! I look forward to hearing more of your stuff. Thanks for sharing!

Reply to Discussion

RSS

Sign up info

Read before you sign up to find out what the requirements are!

Store

© 2021   Created by Gav Brown.   Powered by

Badges  |  Report an Issue  |  Terms of Service