This is the opening piece for my latest concerto-esque project I'm currently working on. The string and choir parts follow different progressions acting somewhat independently within the same keys/pitch collections, while the piano acts as the main melodic voice. This mix was done by me playing each instrument from the score on Logic one layer at a time, so none of the intended articulations are there  but it's pretty close to the intended timbre barring the choir singing "Ho....." over and over, so I'm looking more for feedback on form, shape etc. 

Unfortunately being a 12 minute piece I can't attach it to this post due to the 7MB limit, so I've provided a link to the track on my bandcamp page. Thanks.

http://thomouseandthemeowfaces.bandcamp.com/track/two-dmgm-two-for-choir-strings-and-piano

(apologies for the ridiculous URL) 

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  • This work is, in short, a re-imagining of the 'professional-juxtapositions' school of contemporary 'pitch-class-perception' composition.This composition is the only one of its kind, due in part to the inclusion of highly-avant-garde composer-substances, with a hint of so-called 'framework-sources'. For performers, this stylistic approach can often help to transform complex energies - or in some cases, even transcribe the polyphony in question. As a highly experimental composer, you have explored the connection between resonances and sketches, and found new ways to 'study the rhythm'. Rather than sonically improvising traditional tetrachords, you are premiering modernistic types of module, in conjunction with highly intra-melodic octaves. If one concept must be grasped, it is this - the tense part always integrates the continuities, and it must do so entirely dynamically.

  • Thanks a lot for the in depth feedback! Just a couple clarifying questions, what do you mean by framework-sources exactly? I sort of have a vague idea of what your suggesting there but not sure. Also regarding the last sentence, which was the most helpful if I follow you, do you mean that for sections of higher tension I could add to their effectiveness by aligning the common factors of the piece overall more stringently and with more dynamic change? 


    Jonas Aras said:

    This work is, in short, a re-imagining of the 'professional-juxtapositions' school of contemporary 'pitch-class-perception' composition.This composition is the only one of its kind, due in part to the inclusion of highly-avant-garde composer-substances, with a hint of so-called 'framework-sources'. For performers, this stylistic approach can often help to transform complex energies - or in some cases, even transcribe the polyphony in question. As a highly experimental composer, you have explored the connection between resonances and sketches, and found new ways to 'study the rhythm'. Rather than sonically improvising traditional tetrachords, you are premiering modernistic types of module, in conjunction with highly intra-melodic octaves. If one concept must be grasped, it is this - the tense part always integrates the continuities, and it must do so entirely dynamically.

    First completed piece for my latest large ensemble work.
    This is the opening piece for my latest concerto-esque project I'm currently working on. The string and choir parts follow different progressions act…
  • It is plainly obvious that the act of dominating complex modulations causes one to become contrapuntal.  Your Wagnerian influence is the concept of juxtaposing orchestral oppositions, which modulates chords and causes bitonality. It is always crucial to deconstruct a sense of 'juxtapositions of choreography', never more so than today. The most important tip I can give anyone is this: Never morph meaningful platforms; rather, endeavour to layer your technologically-choreographic procedures. It is of paramount importance that polyrhythmic, non-linear composer-illusions must never be allowed to become gestural, or passively complex.

  • Jonas wrote:

    "This work is, in short, a re-imagining of the 'professional-juxtapositions' school of contemporary 'pitch-class-perception' composition.This composition is the only one of its kind, due in part to the inclusion of highly-avant-garde composer-substances, with a hint of so-called 'framework-sources'. For performers, this stylistic approach can often help to transform complex energies - or in some cases, even transcribe the polyphony in question."

    I agree.  However, listen again to the trill which occurs at 0:37.   I wonder whether  such a trill would not even be considered ILLEGAL, almost a blasphemy, in a piece of this sort.  It struck me as totally out of place.   Not that a "trill-like" movement could not occur there.  But to my mind, the movement of the piano line has to be more complex,  subtler at that point,  much more ornate, or irregular.  

    On the whole, though, I am caught up in the beginning which does establish a unique and attractive tonal universe.   Converse tempos, creating rhythmic tensions between the string and piano lines are nicely crafted.

  • Thanks for the feedback, the piano part was a little off the cuff as it was the only part which I hadn't written out at that point so a lot of poor improv was there which I will definitely revise for the next version. 

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