2 chmbr wrk I : of the beholder Posted by Bob Morabito on December 27, 2018 at 5:00pm E-mail me when people leave their comments – Follow
Thanks so very much for your kind words! :)
And sorry its not possible to post a score, for many reasons but I do appreciate your interest.
I change tempo, and time signatures freely as needed, based upon whats already happened and whats happening next. The most important point being the piece has to keep moving forward, and make sense while its doing so. Each section can vary a section before it, or paste something already heard with very few minor changes, or go on to a new idea, etc-whatever the music needs and demands at that point.
Thanks agian for your kind words and thoughts--they made my day!
Hi Bob, great work again. I could listen it to the end with freshness all the way.
Is it possible to have the score and sightread it here. That would be very convenient.
It looks like a Variation form piece with out main theme(maybe I could not catch it) but
each section has the freshness according to the previous and it is not any repetition
of past. Contrasts are evident within each section, overall contrasts between sections
get more important towards the end also not to forget the contrasts built by orchestration,
instrument timbres. I wonder do you write with this tempo or do you increase the tempo
after you do the final touches to the section or part you are working on?
A score would be greatly appreciated, otherwise I will have to begin dictation exercising ;)
Great work, take care do not get hurt!
Please excuse the late reply.
I must be honest and say Im not really sure what it is youre asking, but Ill do my best and try to reply.
is it mainly the style of this individual work, or is this your personal idiom in all your compositions
This is my personal idiom in all my compositions, although slight changes will probably be noticed as I keep trying to progress and learn every day. (I did however write five lullabies for my grandchildren which were neo tonal as I felt that best suited the meaning of the music. I still found myself using gestures I used in the dissonant music)
And if I had to write for school children I would probably go to the new tonality again, but still again try to retain stylistic gestures of the dissonant pieces..ie to stay out of the box. Bach would have no problem writing for schoolchildren as it would still be his tonal writing..the question would be more fair might be what would he do if he had to write something similar to 12 tone music? Would his style still be recognizable? Id imagine his musical gestures might be..
I would like to get an idea of the possible contexts of this type of music and how it can be functional in practical settings.
Again Im not so sure I understand put did I Possibly answer this above?
Just as writing idiomatically for each instrument works best, writing for special circumstances would be handled with changing what needs be ..for example I would have to really tone done the dissonance, and know what level they can perform at, etc and keep these in mind when composing the work.
Thanks and again apologies for the late reply and I hope I answered your question!
I have always many questions, mainly critical ones to be honest, when I listen to this type of music. If I'm not mistaken the style of this composition is similar to the style of Boulez's Répons. Please correct me if I'm mistaken. I don't listen to atonal music on a regular basis because it always depresses me. I don't pretend to understand it. It is just out of curiosity that once in while I give it a try. It is about the style of composing that I would like to ask the following question.
How should I view this work? I mean, is it mainly the style of this individual work, or is this your personal idiom in all your compositions? Obviously this is not a matter of either-or, but what I wonder about is how I would recognize the composer if he had to write something for a functional setting, a sing-along, a church hymn or a litany with responses by the people, a new national anthem, or something else in a concrete community context, whatever.
If Bach were asked to do this, I guess the result would immediately be known as typical Bach. His personal style would remain perfectly recognizable, even if he had to write a very simple song for schoolchildren.
But it seems to me that you, or Boulez, or anyone else writing in the type of style exemplified by your piece, would have to radically change their manner of writing in order to cope with such a request.
Perhaps my question is a bit clumsy, but I find it difficult to imagine how your style of writing can apply to other genres or settings of music than the rather abstract and singular one of "l'art pour l'art". If you have time, could you clarify this a bit for me?
I have many other questions, but it would be off topic to come up here with all kinds of theoretical problems on the subject of atonality. So I'll limit myself to this one. I would like to get an idea of the possible contexts of this type of music and how it can be functional in practical settings.
I very much appreciate you listening, and taking the time to comment --it means a lot to me!:)
Thanks so much!
I always listen to your work with interest but I feel that I'm still struggling to say anything sensible. That's probably why I tend to just shut up and listen.