Lively counterpoint

[Kjell Prytz]

My ambition with Inertia was to make it lively and rhythmic. It has a counterpoint characteristic and reminds me of the scherzo form. There is a fugue in the end of the piece and like the scherzo it ends with something more.

It is not really meant to be classical but more like post-modern, like most of my music.

Inertia is an interesting expression, not reserved for the Physics science but means something that lags, something that do not keep up with changes. It felt like a proper title.

https://soundcloud.com/user-892939153/inertia

[Ali Riza SARAL]

Hi Kjell,

Perpetuum mobile.  Certainly.

It is interesting how you use classic harmonies and on the other hand keep a piece flowing from beg to end.

Of course there are two ? points it comes to almost a halt and also loudness drops down, which is in my

opinion beautifully done.  Are these the weight of inertia, difficulty to move on can be heard.

Objection: Depth, echo is too much, also violins are too loud.  The other parts can not be heard clearly.

To keep the freshness would be easier with some serial approach. You may have chosen the difficult

way but certainly the freshness is good and there are some healthy reminders of the beg theme.

Cheers.

Ali

[Lennart Östman]

Very beautiful and you managed to keep the interest of the listener throughout the piece. It never felt boring or repetitious. I like how you several times let the first violins fill in the last leg of the previous theme as a launching pad for its own coming theme. Very well composed. The only objections from me also is the production. It’s not bad but it can always be better. I agree with Ali Riza’s points there.

[Kjell Prytz]

Hi Ali,

thank you for your many interesting points. I try to be innovative here, which I also here in your music. It is exciting to experiment with so many tools at hand. In counterpoint music it is certainly a criteria that instruments are heard, I will look into that.

Kjell

Ali Riza SARAL said:

Hi Kjell,

Perpetuum mobile.  Certainly.

It is interesting how you use classic harmonies and on the other hand keep a piece flowing from beg to end.

Of course there are two ? points it comes to almost a halt and also loudness drops down, which is in my

opinion beautifully done.  Are these the weight of inertia, difficulty to move on can be heard.

Objection: Depth, echo is too much, also violins are too loud.  The other parts can not be heard clearly.

To keep the freshness would be easier with some serial approach. You may have chosen the difficult

way but certainly the freshness is good and there are some healthy reminders of the beg theme.

Cheers.

Ali

[Kjell Prytz]

Thank you Lennart, glad you listened and liked it. I appreciate you noticed that special technique to start a theme before the previous one has ended. It is because of continuity.

Also good to get your comments on the production. When doing digital music one is composer and director at the same time. This is never a good idea since the composer hear things within him/herself. Probably this is what has happened here and therefore your and Ali's comments on this are valuable.

Kjell

Lennart Östman said:

Very beautiful and you managed to keep the interest of the listener throughout the piece. It never felt boring or repetitious. I like how you several times let the first violins fill in the last leg of the previous theme as a launching pad for its own coming theme. Very well composed. The only objections from me also is the production. It’s not bad but it can always be better. I agree with Ali Riza’s points there.

[Stephen C. Doonan]

Beautiful, intricate and interesting piece.

[Kjell Prytz]

Thank you very much, Stephen.

Kjell

Stephen C. Doonan said:

Beautiful, intricate and interesting piece.

[Kjell Prytz]

Very nice words, Michael. Thank you very much. It is like they enriches the piece through its poetic character. English is such a beautiful language when mastered in this way.

Kjell

michael diemer said:

Wonderful stuff, Kjell. Great flow, very organic feel to it. It has your typical sound, which I would describe as mysterious, shaded in dark but not drab colors, and at times almost secretive, veiled. I'm not sure if that makes any sense, but that's what I get from your music. In any case, it's always very enjoyable, as well as highly individualistic.

[Dane Aubrun]

I thought it was nice enough but flooded out by too much reverb. 

All good, though.

[Kjell Prytz]

Thank you, Dane. Yours is the second remark on reverb so I need to explore it, trying something different. I use the standard GPO for "Standard Concert Hall", i.e. I haven't tried to adjust anything myself. But maybe I could try a smaller hall, something like a chamber orchestra. I will repost if I find any improvement.

Thanks for your comment.

Kjell

Dane Aubrun said:

I thought it was nice enough but flooded out by too much reverb. 

All good, though.

[Timothy Smith]

I thought this was very well made. Enjoyed the listening experience.