Hi all,

Haven't posted in a while.

This piece will be my first as a PostGrad for Ensemble.  It will be rehearsed Nov. 30th.

It was a take on nesting themes within themes.  I take the first theme and do manipulations on it for the next theme to create a set of four "main" themes at different meters and lengths.  I would've done it with supercollider but am not very good at programming so I did it in Sibelius 7.

I thank any feedback and hopefully can get a good rehearsal on it.


Hiccup Hocket.mp3

Fractionallity-10-RR - Full Score.pdf

You need to be a member of Composers' Forum to add comments!

Join Composers' Forum

Email me when people reply –


  • I agree, I'm more of an electronic Musician.  But I have to write for ensembles and this is my first attempt at doing such and a maths based piece for live players.  Thank you!

    Bob Porter said:

    I don't listen to this kind of music, but your thread title got my interest. Glad I Iistened.

    I you think this is too difficult, then I have to guess that you are not very familiar with these instruments. The problem with computers is that anyone can write anything for anything and the software will faithfully play it reguardless. Maybe it will work in real life, maybe not.

    But to answer you concern, college level instrumentalists should be able to handle this.

    This piece may be too difficult to play
    Hi all, Haven't posted in a while. This piece will be my first as a PostGrad for Ensemble.  It will be rehearsed Nov. 30th. It was a take on nesting…
  • Nick,

    If you are in a situation where you have access to these players (and others as well) take the opportunity to learn from them.  They can tell you from a players perspective what's involved in playing the part you've written as well as other tools to put in your bag for the future works you write.

    If they are so inclined, have them give a quick lesson on the instrument for you.  You won't be a player, but it will give some insight into what they are thinking as players when they approach the instrument.

    My .02 and cup of coffee.

  • It's not a bad idea to have a guitar or violin, flute/recorder, and of course keyboard, and learn at least enough to have an idea of what's involved in playing them. then, you have a rudimentary understanding of how music is produced, and with some orchestration study and enormous amounts of listening time, you begin to sense whether what you are doing is playable. To paraphrase Walter Piston, whose Orchestration I highly recommend, you can usually err on the side of assuming that what you're writing is in fact playable, as musicians are extremely skilled.

  • Before this goes on any further, I must say that this is the first time I tried to do a direct mathematical process to instruments.  This does not mean I don't play an instrument nor have ever written for ensembles.  I played the piano since 8.  I play the flute, violin and koto.  I understand how hard it is to play my piece but I am not savant.  I am experimenting and looking to see who can play more out of the norm pieces as maths fascinate me and working it with professionals is my new task.

    Thanks for the feedback.

  • Nick,  There may be an audience for music like this, but I have to assume a very narrow one.  I could not pick up on the motiff.  There seems to be too much jumping around from idea to idea and nothing that connects them together.  Too many time changes also leads to a feeling of confusion and disconnect.  Maybe this is what you were aiming for.  From my perspective a an "older" musician is that it might be better to start off with a strong melodic thought and progress into some variation or counterpoint underneath the central theme.  Again, this is just my humble personal opinion on it.

    Keep writing!


  • No worries!


  • First, let me tell you that I adore this piece. I have not read yet any comments posted. Very innovative! This piece is the "Mother of all syncopated pieces"! I'm originally from Haiti and I was dancing through it from the beginning to the end.  I'm not going to repeat Miles Davis regarding the "handicap" of White musicians with rhythm. But, I strongly believe that any musicians who want to play this piece must be not be only excellent readers or good technicians, they really need to FEEL it also. 

    Congratulations and good luck!

  • I would not personally put it this way for I mean no disrespect to anyone. I strongly believe that they do exist very and strongly soulful White musicians or musicians of any color as a matter of fact, who are extremely capable to blow our mind playing this piece. From the same token, one must agree that this piece can be poorly executed by Black musicians also. I just wanted to emphasize that strongly syncopated aspect of that piece which might be extremely difficult to play for musicians who are mostly used to movements not syncopated rhythms. Peace! 

  • I want to hear the Neil Diamond version. The Godfather of White Soul. (Don't take me seriously either).

  • Sorry, I commented twice without addressing what I thought of the music. Actually, in addition to feeling it is very playable, I think it is very interesting as well. There is plenty of order here, even predictability, as opposed to much music of this type, where the order can be hard to discern. The only criticism I would bring is that the constant thumping in the right channel, which I assume is a plucked Bass, gets a bit grating after awhile. It is also too loud and perhaps too driven (velocity too high?). Otherwise, nice job.

This reply was deleted.