Alas I found a little time to listen to your Symphony nº 1 in BM, sorry for the delay, crazy days!
I find it very personal and well structured, like the flute at around 3:00, and the violin around 5:50, and the increasing ostinato around 6:50....I like how the piece seems to flow with no effort, very nice work John!
Hi John !
Excuse the very tardy reply, I am busy as always. Just wanted to let you know I much appreciated all your comments on my work, and the time you took both to listen to my pieces and to write down your impressions.
Actually, I don´t know in what order you listened to them since I have my page here set up for random playing, the order in my album you can find in my webpage (actually it is just the order in which they were written).
About The Cat & the Hat, don´t worry the melody is original, built from editing some free loops. And the concert never took place! it is all an invention of mine, having fun with my computer :)
Thanks again for your time John, hope you are doing grand!
ps: big hug to your dog! :)
"Red line" is my word creation :) It means that there is a structure in your score. On one hand the score seems self-contained. On other hand you put lots of emotion in it. So the result has quality AND entertaining.
Th eno comes from a 3 Cd collection called the early gurus of electronic music - 1948 - 1980
So I was mistaken covers a 32 year period but the composers highlighted span over 75 years considering their birth dates
Hi John, thanks so much for the deep review!
I am about to catch a fly, will be away for 10 days and don't know if I will be able to login in the forum while I'm away, but I promise to get back to you whenever is possible. Thanks again for all your attention, hope your doggie is better now!
Thanks again, take care
I have been listening to your work, I especially liked Caprice and Still, found them very original. Of Still I particulary like the lightness of marimba? developement, sounds quite lively and fresh, and I like the contrast at about 3:10, gives new perspective to the piece. Very nice.
Chris Merritt has asked me to contact all existing compsers that have reserved slots on the above project. It has to be said that the World's Longest Piece is gathering the momentum it needs now, which is great news. So can you inform Chris how near you are to finishing your piece, as I believe that he is anxious to get to work blending/mastering them into one sigle unit. We're gonna hit the big time!! Whoopee!!!
I would love it if you went through my music and left your feedback.
I am trying to work towards being a composer, but unfortunately, I cannot read music, as I have never learnt any. Do you have any suggestions as to where I can learn sheet music ? Any website ? I am listening to your tracks again. I like your individuality. It's really sad you don't plan to take this up professionally.
Composed 12-13 July (initial notes, ideas, melody & basic harmonic structure), and 28-30 November to 8 December 2006.
The challenge: write a piece in 7|8. I started by assuming that "seven-eight" was applicable to more than just the time signature. I played around with the numbers themselves.
I worked out the bulk of the structural elements for this piece. First: Rhythm. I determined that the internal rhythm of each measure was going to be 2+2+3 (but of course, there are some exceptions for variety; for examples: the opening section has the LH playing 3+2+2; there are also times when the RH will play 2+2+3 while the LH plays 3+2+2). Second: Key (~s). I started at C Major on the circle of fifths and went three key signatures in one direction to the key of Eb Major/c minor; then going four keys in the opposite direction (again from C), I came to E Major/c# minor. Three + four = seven. Silly, but that's where I started. I then decided to compose the RH in Eb Major and the LH in E Major. Third: Melody. Once the decision about keys was reached, I looked for the tones (notes) that the two keys had in common (c, d#/e-flat, g#/a-flat, a, b, b-flat), & decided to make my principal theme out of those notes. The principal theme places the notes in this order: c, e-flat, a, b, b-flat, c-flat, e-flat, b, b-flat, a, e-flat, a-flat, c, a, b-flat, a-flat. The theme is jagged and anxiouswith a strong forward-moving feel. Fourth: Instrumentation. Perhaps the easiest decision at first. I decided on the piano-but wanted to limit the range from the standard eighty-eight keys down to seventy-eight. When I took off the top and bottom five keys, I was left with the lowest c and the highest a-flat on the piano. Ironically, these notes were the first and last notes of the principal theme I had already written. I started by calling it simply "78" (for obvious reasons). And that lead to a play on the phrase "7 come 11."