Music Composers Unite!
Being a traditionalist who believes in the mathematical truth that there are sufficient possibilities in traditional musical scales and modes to write into eternity without repetition, why should I venture into the world of Avant-garde?
Simple answer is that I do not really know, but it may be because one or two critics in the past have lightly suggested that it might be the way for me to go. I did attempt a few years ago an experiment, which I entitled Thema Obscurante and received some encouragement suggesting I should ‘stay with it’.
Well, here is a second attempt that I have based on a five-bar piano riff and a separate three-bar melodic line borrowed from the 'Ideas Library' within Sibelius software.
I commented on someone else’s recent post that I find it interesting to see which direction other composers take at the end of a section of their music – best exemplified with ‘programme’ music that’s telling a story rather than following a formal pattern of development. Therefore, starting from the aforementioned piano riff combined with the beginnings of a melodic line, I looked forward with interest to see where it would take me – and The Road to Perdition is what I have come up with.
Now, whether it can be considered innovative or predictable, interesting or boring, worth commenting on or best ignored, good, bad or indifferent, clever or banal, I simply cannot judge: which is why I have posted it here. Your comments, whatever they may be, I will receive with much interest, plus of course any suggestions that might improve the piece; anything, for example, ranging from ‘throw it on the fire’ to ‘add a Bb to the chord of the dominant minor 27th in bar 432’ (if there is one, I don’t know).
Thank you for listening and I hope your ears do not hurt overmuch. For what it’s worth, my own opinion is that it needs a bit more development but I am aware that, like a good painting, we have to know when to say ‘enough is enough’.
If anyone wants an MP3 file please let me have your email address and I'll forward it to you.
Gav Brown said:
Actually Stephen's piece is more Prokofievianesque than Prokofievian. For instance, the opening piano line exhibits some Prokofievious writing. The cello solo at 32 is oozing with Prokofieviousness, but towards the end I think he Prokofieved when he should have Tschaikovskied. But enough with the Prokofievamentarianisms. Get back to composing.