http://www.soundclick.com/bands/page_songInfo.cfm?bandID=681134&songID=6910187
c. 17'
i. The Synesthete - opens with 10 distinct motives, representing what a non-synesthete (me) imagines a synesthete might 'hear' when thinking about numerals. I should also note that, throughout, there is the unifying relationship between Ab and G - in ALL the motives, quite obviously in the first 'allegro', and, consequently, in all subsequent developments of each motive.
ii. The Epiphany - a somewhat spacier movement, representing that feeling of having (and subsequently losing) that epiphanic moment. In this movement, there is a 'chord', which gets shifted around and transposed throughout.
iii. The Enjoyment of Life - a movement which completely disregards MOST of the material before it and provides a contrast, merely for enjoyment.
iv. The Experience of Qualia - a short 'recapitulation' of several themes from the first two movements.
Hope you enjoy!
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Replies
Zach Eaton said:
Zach Eaton said:
However as Zach says, it is incredibly dense in ideas in ideas; but then again no more so than much "modern" music. So I think that the criticism is levelled against much written in the modernist style, rather than just this work.
Although these sorts of pieces often "challenge" the listener in some way or provoke new ideas (supposedly), the one question I'm left asking is "do you really expect people to enjoy listening to this" and if so, how ?
...because there's precious little for the ear to latch on to amidst this constant flurry of chords, notes and finger patterns.
You'll probably get some "thumbs up" from those who enjoy this genre, and there are a few here.
Adrian Allan said:
I'm not so conservative to want everything in diatonic chords, but I do need something to follow and make sense of.
I will have a listen to your other pieces now, as I don't like being negative - maybe this style is just not for me.
Fredrick zinos said:
I'm one of them. I'm not sure why others are having trouble hearing relations between the material in your piece. Quite often your piece is fairly conservative in terms of rhythmic and harmonic structure, in my opinion, as well--so there's a lot to be easily held onto.
Nice work overall. I'd probably like it even more if I were to listen to it a number of times over a couple weeks.
However in my opinion, overall it sadly doesnt work..its simply a case of the piece having no overall identity, hence no sense of direction.
There are simply too many old, different stylistic idioms and gestures, some following each other TOO closely, that have no relation to what;s going on, or has gone on before, mixed into , and clashing with a somewhat atonal atmosphere at times.
And for me between small sections theres sometimes not enough textural variety..-many of the sections that follow each other are same range, same kind of gestural thing, and piano register as before.
Much of the piano writing is really nice, but the extreme ranges are neglected in my opinion.
Ive always heard, and believed a composition--ANY composition,--must somehow be "cut from the same piece of cloth"..meaning that no matter HOW far out one might get, it all still simply, on a subconscious makes sense, and hangs together--and the piece moves forward.
However, your piece to me is mostly more lake a bunch of uneven unmatching patches thrown together from different cloths--at times haphazardly. and that sometimes works well in spots.
A sense of direction, of overall design. is lacking
The piece tries to be somewhat atonal at times, and then tritely tonal at others, and this really doesnt work for me--
I really do feel the more atonal parts work much better.
There are also wrongly chromaticised notes throughout the piece,(usually a semitone up or down wrong) that need to be certain definite pitches so that they sound right to the ear, and make for continuity with your piece, as referring aurally to previously heard material, or auguring forthcoming new material.
Lastly I didnt know there were movements until I read it. Those.longer silences function as awkward overlong rests, as the,material following them are more of what we've just heard.in this work..They only sound like the piece is over at those points, not that a new movement is starting.
I would shorten these rests, and have it in one movement, four large sections., change the trite tonal stuff, and work on inserting some different textures between parts that are too similar..
In conclusion, I honestly really do applaud your work, and effort in composing such a piece-its a far cry, from what is usually heard, and to me portends GREAT things
And in a forum like this, when one receives the same criticism, from a great majority of the responses, to me its something to maybe look at and take a listen to..
but in the end, its YOUR piece, and YOUR vision that should prevail.
and the rest be damned.
Really nice work, Jeff.:)
Thanks Bob Morabito
Absolutely not. You must be confusing some of the intra-movement silences with double barlines - think about the material itself, and the movements are blatantly apparent and all finish their ideas before moving on (with the exception of the last two movements, which move attacca one into the other). Understandably, I'm not concerned about the time in between movements, because all I have to say to the pianist is 'make it shorter' if it's too long - there's no notated '10 seconds'.
Opinion appreciated - but with the staggering amount of changes you're suggesting, it's as if you're trying to make it your piece... and it doesn't try to be anything, or you'd have stated specifically what that thing was it was trying to be. I feel like you're addressing a lot, but then not complimenting all this criticism by being appropriately specific (give an example?). Allow me to at least address something you've said!
Thanks for listening!
Ray Kemp said:
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