Hey Guys,

Music or not, here is the fourth miniature of the series of miniatures I'm composing
using only electric guitar as a sound source. This is longer and more complex

than the others. 
I'm posting this with a profound sensation of "unfinished work",
but I think we have to "let it go", in order to produce more and refine our processes in the next

As in the other post (sharing the three first miniatures), if is music or not, is not the point here.
I'm just sharing my work. The reality of sound is ressonance. The reality of humans is death.
Don't loose your time discussing the name of things. If this work doesn't resounds on you, let it go.


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  • Again, I liked this very much Paul and found it very enjoyable music. The sound worlds you're able to create with an electric guitar are truly remarkable and extremely exciting places to visit and explore, and escape to.

    I find it a finished work in the sense that my musical experience was complete--to me the piece works just as it is:)

    Thanks for posting this, and sharing--EXCELLENT job! :)

    Thanks Bob https://soundcloud.com/bob-morabito

  • Thank You bob, for your kind words! I really appreciate that!

  • I like that this piece has orchestration and development, can you talk about your methods?

  • Thank you!

    I think a lot about directionalities. All transformation, creates a direction.
    So, I imagine what kind of direction I need to hear in that moment, or what kind of direction

    I can give for a certain material. I don't think everything is in the material, but in the energy that

    we apply to that material, too. Density is a thing I pay a lot of attention, and I choose some points

    when we have different sorts of densities, simultaneously. That's an heritage from my contrapontal thinking,
    so I work with the concept os segregation/aggrupation in different layers and focus.
    When I say focus, Is related to the level you are paying attention, between entire form (macro) and little and short elements (micro).
    I'm pushing a lot of material from improvisation, paying attention to space between events or apparition of elements and texture. I think, mostly on two extremes in terms of rugosity, and, in the other hand, linearity (think in a smooth surface).
    I organize the material in "voices", so this is the "orquestration" part, when I choose the right register for every element or sequences. I try to give a formal sense to the presence or absence of things happening on a certain register. In some sections you don't hear lows, in some you hear just trebles, and we have more density in certain points in the form.

     There are more stuff but, in general, is more or less like that heheh 

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