Hi Matt, I had several listens to your "Water Potion" and like it a lot! Nice build-up with its medieval beginning with fanfare-like elements and drone (bourdon). And then the vocal/voice part that has somehow a science fiction like feeling. At least something like a synthesis. And it all has a Matt Le Mare touch. Great piece of music!
Your piece sounds great. At the beginning of it the first thing that came up to me was Stravinsky's "Le Sacre du Printemps", that horn rithm pace blast... then i see some minimalistic construction behind it and blocs of music, each one developing as one entity of their own. That permits me to see a well formal and structured piece. Well done, my friend.
This piece is done. No need to change, is awesome.
Now the next step for you is to find a way on next piece to develop some connection between blocs (if you made another piece on this manner) in a progressively way.
Thank you very much for your positive and encouraging feedback Matt. Always nice to hear from you. Thank you for your advice as well. I will certainly keep it in mind when I work on new music to include natural pauses, that will be a good exercise.
I liked my journey through your music and ambient sounds of 'My ears are going Ten to the Dozen' The end is classic! Nice combination of instruments in Recurring Dream especially with the vocals and I also like the rhythmic part in What do you forget? Incredibly creative pieces and I like the way you make the detail of sound matter. The still Centre and Five Rings especially made the individual qualities of the sounds engaging. It must have been so much fun to create - I like your new pieces Matt, congrats!
Thanks for the nice comments to my music, it would be nice to have some more contact than only to it´s nice , it´s wonderful, I think it could be enriching to have more exchange about our music about the ideas to compose or to make music or to communicate with the people which are listinig to us - are you also interested?
Thanks for the question Matt. I am an improvisor rather than composer, and combine everything from MIDI records of improvistion sessions. Some pieces are put together as parts of a single and long improvisation (e.g. 9-parts Mystical Suite). Usually I create recapitulations by reorchestrating some fragments and inserting accents and intrusions taken from other fragments. I almost do not WRITE music: everything is played. The advantage of this method is working with records of authentic emotions. I strive to employ many virtuosic piano elements, which I found very expressive. The disadvantage of this method is a difficulty to get a conventional performable score.
I guess it depends on what you mean by 'linear'. I suppose I can apply that certain 'adjective' to your music, as I do honestly feel that it moves forward (in its own way, of course). However, with my music, I am a great follower of forms. Not so much in the formal scholarly fashion, but more so with the tool of development, recapitulation and cyclic aspects. If you were to listen to my symphony from beginning to end (not that I'm expecting you too, unless you have the time), you would know what I mean.
When I was young, I always knew which parts of a movement I liked best, but of course, I never knew why. The bits of classical (as in 'art' music, not necessarily from the Classical period) music that I did like had me sitting on the edge of my seat, and it wasn't until I started my musical education that the penny dropped, for me to find that it was always the 'development' section, or any kind of development that involved furious changing of keys and motif manipulation. So I've tried to take it one step further and put a lot more 'development' in my music, than previous composers. That's probably why my initial motifs are rather short or weak even (apart from 'Spirit of the Stour' which comprises a very long melody in question and answer form, but even then, I've still ensured that the development is by far the longest section in the piece. It's probably the only piece where I've followed sonata form to the letter).