Music Composers Unite!
I've decided to do something completely different than my normal thing. I've never enjoyed 12-tone serialism, but I decided to give it a little try. I don't follow the rules entirely, because I wanted to create something that uses it, but still sounds accessible and not like overly-academic wankery.
The concept of the piece is a musical setting of the final stages of the Voyager I space probe leaving our solar system. It will be made up of 5 "Movements" with little or no separation between. The flute is the probe while the piano is the sun and it's solar wind, particles, etc. early in the piece and other stars in the final movement. Since the probe is a non-living thing, I decided to go with a more robotic sound created using a 12 tone row (divided into four triads) and some of its' inversions. Again, to make it more listener-friendly, and frankly because I wanted to, I didn't stick to any real rules or conventions here.
Any and all feedback would be greatly appreciated!
This one I will admit is a challenge for me to appreciate. This may be in part due to the fact that I am not a big fan of atonal approaches. But I have listened to a lot of it, and there are things I listen for, such as a cohesive overall feel to it, a forward momentum, or some sort of atmospheric quality which is attractive and makes me want to come back to it. I didn't pick up on any of those things here, even after a couple of listens (perhaps not enough). In looking at your score, I see you have some command of the language of notation, and that makes me think that everything you did here is intentional. For some reason, it didn't work for me, but again, that is only one opinion from a person who is generally not a devotee of this style -
Best to you, and thanks for sharing,
I just noticed this section and gave your work a listen, and my reaction is the exact opposite of Gav's. I found it an engaging tone poem, beautifully done. Your use of silence I thought was especially appropriate and well done, especially in the "Beyond" last movement. There were places where the piano part reminded me of the "Twilight Zone" theme music, but in light of the subject. this isn't necessarily a bad thing.
I also found much of the work to float on the edge of tonality, despite your use of a tone row. That's a part of musical space that interests me, which probably contributed to my enjoying the piece.
Overall, quite well done. Thanks for sharing it.
Thanks for giving it a listen! That's kind of what I was aiming for with being on the edge of tonality. It was symbolic of being on the edge of the solar system, and what we know and the great unknown beyond.
The part 1:18 to 2:30 worked really well for the flute and the intended "robotic", functional, but, somewhat curious and caring quality of the probe.
The following part seems a bit "too obvious" (crazy outer space) for me. So, part 2, followed by 4 till the end would be a complete piece for me.