The records and cd's I listen to are in the classical, jazz, rock genres, so my composing reflects all that. I enjoy writing for small jazz-rock ensemble and I record in my own studio, usually playing the instruments myself. A typical composition may present several ideas, not necessarily related, and do quick transitions without lingering too long on any single motif. I do simple melodies, more complex rhythms, and freely mix harmonic vocabularies from any period. My music is not particulalry inspiring, nor would a concert of me be regarded as a monumental event. My hope is that it would provide a moment of interest and to not bore. And, I love the recording process as much as the writing process.
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"Hi, Saul - A friend of mine writes small ensemble music in this vein and through her I learned about Windham Hill Records. I wonder if you've heard any of the composers featured on their recordings. This would fit so well.
I enjoyed this, and when…"
I enjoyed this, and when…"
"Hi, David - I listened to the entirety a couple of days ago and then parts of it off and on since then. The abundance of very high quality motifs linked with such skillful transions makes this an engrossing listen for me. The work somehow covers…"
"Hi, Ivor - on structure, pace, scoring: excellent and engaging. On mood: I connected to it early on but I wasn't aware of shift nor evolution, and I was perfectly content with that due to its rather calming nature. The piece eminated a consistent…"
"Hi, David - yes ... exactly what you said. Despite its improvisatory roots and performance feel, I wrote it out. And while I was playing the various recording takes I found I was still making decisions about note values and phrasing. So there's…"
"Thank you, Gregrorio. Evans had the full-tilt classical music training. He was particularly connected with Debussy and Ravel, and kept the Bach Inventions & Sinfonias on his piano in his New York apartment. I was unaware of these facts when I first…"
"Thank you so much, John. This means a lot. -Ray"
" Nice, Gregrorio. I can't comment on structure as I lack the analytical capacity. As an emotionally captivating work it held me and it moved me. I've listened to it several times since you posted it. Your work always compels multiple listens over…"
" Hi, Steve - I enjoyed these. Concise and well constructed. Easy listening and the mixing/mastering made for a natural sound on hi-fi speakers. In the e-minor sonata was there any consideration given to relaxing the tempo to a point where the…"
"Hi, Kristofer - I'm impressed that you and some of the other members (Ivor comes to mind) have a deep analogue synth background. Even though I grew up listening to the references you stated (add Keith Emerson) I did not develop a working interest in…"
"Hi, John - It's fortuitous that I decided to do this morning's Forum listening on the big hi-fi speakers and then found your film score. Wow. Your score supports the story line and delivered me into an engaging emotional state. Sonically it…"
"Yes...what HS said. This piece had the usual Saul-istic gentle but forward-aimed energy. Often when a piece of yours establishes a stylistic signature you drop in moments, even just a note, of something unexpected, and you do it with such taste.…"
"Hi, Saul - I hope you do more. I appreciate and enjoy the various styles your postings have demonstrated. I'm planning to listen to your new postings later today or tomorrow. And, nice playing! -Ray"
"Hi, Kristofer - Absynth and some other soft-synths are robust, full featured environments, and people are doing amazing things with them. For me, the immediacy of hardware synths are a better fit for my performance oriented recording style. One…"
"Hi, Ivor - Before the 50” mark brass, susp cym and triangle are too present and it hurts the realism of the rendering. After 50” everything settles into the same space, and the balance and spread of the orch with the mezzo is very good. All fortes…"
"Saul - great work. I listened a few times. I like the harmonic vocabulary you’re using… I haven’t heard this from you before, and the long cadence to bring the piece to its close ( and the french styling is terrific) is a wonderful and creative…"
Bio
Training in piano and percusssion at Mannes College. Played on local freelance scene for three years mostly at the NYC Opera (percussionist). Left music to work in the computer field for thirty years. Ten years before retiring I built my recording studio so I could compose and record my own music. Doing that has reconnected me with musicians and provided gigging and jamming opportunities. Happy.
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I apologize for overlooking your comment; so easy to do as I rarely navigate to my my own page. I should make a habit of checking routinely, I suppose.
Almost nothing I perform is in 12 ET. Okay, actually Nothing. You have a very good ear and keen observation in this respect and others, such as recognizing that the rendition of Nautilus presented is a midi. It was necessarily so, presented in a competition, and I'm proud to report, it won. I'm ashamed to admit that my intellectual powers have waned since then, and even I don't fully recall or understand the complexity of its design, but I know I worked furiously on it at the time:)
I'm presently working on the [an] Organ Fantasy for the Halloween celebrations, and trying to make it sufficiently gruesome to the task of honoring the rite. I don't write so much these days; I turned my greater attention to GR, QFT, and mathematics generally years ago, so if I'm a bit rusty, show me clemency. I've never lost a profound infatuation with the inexorable pull of musical language. I believe it's a condition we're congenitally condemned to at birth.
Hopefully, my message reaches you. If, I don't respond promptly [to you or other composer peers] it's not disregard, but oversight, amplified by life's mounting cares and commitments.
Anyway, thanks for checking in, and let's keep in touch.