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Colin Holter
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« Reply #15 on: 19:36:22, 23-07-2007 » |
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And somewhere along the way I should also finish start the player piano piece that was supposed to be turned in in April. Undecided You've got a piece for player piano in the pipeline? How did that come about? |
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aaron cassidy
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« Reply #16 on: 20:48:45, 23-07-2007 » |
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And somewhere along the way I should also finish start the player piano piece that was supposed to be turned in in April. You've got a piece for player piano in the pipeline? How did that come about? A request from a friend who's putting together a concert and disc of short player pf pieces. It was supposed to be done several months ago, but the whole project has been stretched out a bit, so I now have some time to finish. It's a quick little ditty ... only about 2' ... with fourteen simultaneous overlapping layers that are (predominately) highly-compressed (squished?) quotations from earlier pieces of mine. It's what my piano music would sound like if people like Ian had 6 or 7 hands.  |
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Chafing Dish
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« Reply #17 on: 20:56:27, 23-07-2007 » |
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It's what my piano music would sound like if people like Ian had 6 or 7 hands.
And 30-35 brains, one for each finger! |
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Colin Holter
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« Reply #18 on: 21:07:51, 23-07-2007 » |
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I have a terrifying mental image of a giant, somewhat Vedic mutant Ian Pace with six arms. . . and thirty brains. He is fighting off an army of brain-hungry capitalist zombies. Afterwards, he will perform Aaron's piece for player piano.
Currently, I am working on a piece for chamber orchestra. Having never written for a large ensemble before, it's an uphill battle, and I have no idea whether it will actually sound anything like it's supposed to when I'm done.
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Evan Johnson
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« Reply #19 on: 21:10:23, 23-07-2007 » |
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For myself I am presently in the midst of flailing about trying to figure out how it is humanly possible to write a 45-minute piece of music, having been asked to do just that in the form of a concerto for bass/contrabass clarinet and 11/12-player one-to-a-part-type ensemble. You have my attention.  He has mine, too. I think Evan's music, what with all its awkward repetition and bizarrely imbalanced forms and such, is quite uniquely suited to explorations of longer durations. I'm really quite excited to see what comes of all of this, and thanks to Gareth for getting the whole project rolling. Yeesh. As if I wasn't putting enough pressure on myself already Thanks for the kind words, fellows. Maybe I'll start a newsletter. |
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aaron cassidy
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« Reply #20 on: 21:11:20, 23-07-2007 » |
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It's what my piano music would sound like if people like Ian had 6 or 7 hands.
And 30-35 brains, one for each finger! (Are you suggesting that in order to play my (existing) piano music Ian has somehow gained 9 additional brains?) |
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« Last Edit: 21:29:37, 23-07-2007 by aaron cassidy »
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Evan Johnson
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« Reply #21 on: 21:29:28, 23-07-2007 » |
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It's what my piano music would sound like if people like Ian had 6 or 7 hands.
And 30-35 brains, one for each finger! (Are you suggesting that, in order to play my (existing) piano music, Ian has somehow gained 9 additional brains?) Maybe not, but he certainly had to grow nine additional  All right, with that productive contribution, back to score layout... |
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aaron cassidy
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« Reply #22 on: 21:30:37, 23-07-2007 » |
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Maybe not, but he certainly had to grow nine additional
... six-packs of novelty golf balls? |
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Evan Johnson
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« Reply #23 on: 21:34:23, 23-07-2007 » |
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Maybe not, but he certainly had to grow nine additional
... six-packs of novelty golf balls? Yes. And did you see the middle one? A nice little Buffalo reference just for you. OK... now back to work. |
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aaron cassidy
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« Reply #24 on: 21:36:37, 23-07-2007 » |
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Yes. And did you see the middle one? A nice little Buffalo reference just for you.
(I did! Wonder if they've built that silly thing, yet ....?) |
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increpatio
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« Reply #25 on: 00:47:51, 24-07-2007 » |
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I have a terrifying mental image of a giant, somewhat Vedic mutant Ian Pace with six arms. . . and thirty brains. He is fighting off an army of brain-hungry capitalist zombies. Afterwards, he will perform Aaron's piece for player piano.
And think of how much the process of cooking and eating steaks could be streamlined! |
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« Last Edit: 00:55:01, 24-07-2007 by increpatio »
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Ian Pace
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« Reply #26 on: 00:52:32, 24-07-2007 » |
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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Biroc
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« Reply #27 on: 01:00:44, 24-07-2007 » |
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No diversion Ian, you're currently creating a healthier you!  |
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"Believe nothing they say, they're not Biroc's kind."
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martle
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« Reply #28 on: 23:10:31, 24-07-2007 » |
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Prompted by CD's very honest and self-critical comments elsewhere, I wonder how others (or indeed CD himself) deal with the inevitable lows of creative endeavour. The periods when it seems pointless, or fatuous, to continue. The need for stimulation - and of what sort? Whether to see something through because it's got a professional deadline attached even though you're feeling dismal about it. And so on.
I admit I'm sometimes in that kind of place, and find it very difficult. Something to do with having this long- (and self-) established image of oneself as being incapable of contributing to the world in any other way? Daft, sure. But occasionally real enough.
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Green. Always green.
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increpatio
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« Reply #29 on: 23:27:04, 24-07-2007 » |
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While not wanting to mask martle's question... Currently, I'm supposed to be creating a piece for Steve Altoft for micro-tonal (19 equal divisions to the scale) trumpet, percussion and live electronics.
Have you already written for this instrument, or will you have personal access to it while writing? When it comes to harmony, it seems to me (uneducated in chamber-writing or orchestration) that it must be ferociously difficult to judge what exact effect and combination of timbres will create. I tried to get started on writing a duet for harpsichord and piano, and yet I got stuck at every note trying to judge what the quality of the combinations of the two instruments sound like, what the motion of the two instruments together sounded like, and it was soo much slower than writing for one instrument where one can say "Oh I wonder what X sounds like" BANG and then usually conclude "Oh that's musical/unmusical", or an ensemble of instruments about which a large body of works & theory exist (string quartets, say). No doubt experience and general knowledge play a lot of work in this regard, but I was wondering how the composers on this board would approach writing for some ensemble of instruments that is new to them? |
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