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martle
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« Reply #180 on: 22:29:49, 07-09-2008 » |
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Here's an innovative and cutting edge approach to composing! Let your mesageboard pals do the work. I have to write a concerto, or a 'concerto', for soprano sax and strings. Quickly. Give me some notes and rhythms and textures and stuff. Soon as you like, ok?  (I'll credit you in the programme note - really I will.) |
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Green. Always green.
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Ian Pace
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« Reply #181 on: 22:41:15, 07-09-2008 » |
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Ok martle:
Notes: d1- Gb-g-f#2 + one quarter-a1 quarter flat.
Rhythm: 7 successive crotchets, double dotted quaver, 25 crotchets, 11 crotchet rest, 7 double dotted quavers.
Texture: 'only just blended', as if the instruments have been almost forced to do so (perhaps requiring unusual techniques). Addition of 'foreign' timbre of some type, requiring frantic re-adjustment.
(these elements do not need to be used simultaneously, by the way)
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« Last Edit: 22:43:25, 07-09-2008 by Ian Pace »
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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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richard barrett
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« Reply #182 on: 22:43:07, 07-09-2008 » |
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Mr Prof Martle sir, may I suggest you listen to this triple CD:  |
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increpatio
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« Reply #183 on: 22:52:03, 07-09-2008 » |
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I have to write a concerto, or a 'concerto', for soprano sax and strings. Quickly. Give me some notes and rhythms and textures and stuff. Soon as you like, ok?
notes: A1 A A A C2# C G# |
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martle
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« Reply #184 on: 22:53:20, 07-09-2008 » |
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(these elements do not need to be used simultaneously, by the way)
Ian, that's quite a relief I must say. But thanks! Dr Dr Mr Prof Sir Richard, sir, that triple CD looks so much in line with my current notes inegales-fuelled thinking that I will simply have to get it! Inks, nah. Work on that and get back to me, dude.  Gosh. The piece is almost written already. |
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Ron Dough
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« Reply #185 on: 22:58:24, 07-09-2008 » |
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Some sort of scherzo with a rhythm of 7/8, 7/8, 4/4, 7/8 and a basic motto of G, Bb, A, C, F, E natural: percussive bass pizzicati under syncopated high syncopated clusters in hot pursuit of a fleeing saxophone quarry.
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martle
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« Reply #186 on: 23:04:21, 07-09-2008 » |
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Some sort of scherzo with a rhythm of 7/8, 7/8, 4/4, 7/8 and a basic motto of G, Bb, A, C, F, E natural: percussive bass pizzicati under syncopated high syncopated clusters in hot pursuit of a fleeing saxophone quarry.
Jeez, Ron - that's the Malcolm Arnold clarinet concerto, isn't it? You nearly had me there.  I'm going to sleep on these excellent suggestions now. Thanks, one and all. |
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Green. Always green.
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increpatio
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« Reply #187 on: 23:15:22, 07-09-2008 » |
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Some sort of scherzo with a rhythm of 7/8, 7/8, 4/4, 7/8 and a basic motto of G, Bb, A, C, F, E natural: percussive bass pizzicati under syncopated high syncopated clusters in hot pursuit of a fleeing saxophone quarry.
Jeez, Ron - that's the Malcolm Arnold clarinet concerto, isn't it? You nearly had me there. |
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increpatio
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« Reply #188 on: 23:30:33, 07-09-2008 » |
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What's this game of yours then? Are we allowed to see it?
I have some reservations about putting it here, but here it be: windows / osx 10.5 / source (1.8MB) |
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« Last Edit: 23:53:06, 07-09-2008 by increpatio »
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richard barrett
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« Reply #189 on: 23:50:11, 07-09-2008 » |
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What's this game of yours then? Are we allowed to see it?
I have some reservations about putting it here, but here it be: windows / mac / source (1.8MB) Are you sure the Mac OS port actually works? I'm not. (Or dcoes it only work on 680x0 macs?  ) |
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increpatio
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« Reply #190 on: 23:54:45, 07-09-2008 » |
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Are you sure the Mac OS port actually works? I'm not. (Or dcoes it only work on 680x0 macs? ) Ah yes. I only bothered compiling for osx 10.5. Erm, yeah: it took me a lot of wrangling to figure out even how to do that. The thought of trying to compile an osx 10.4-compatible universal binary makes me a little...nauseous... |
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richard barrett
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« Reply #191 on: 00:02:53, 08-09-2008 » |
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Are you sure the Mac OS port actually works? I'm not. (Or dcoes it only work on 680x0 macs? ) Ah yes. I only bothered compiling for osx 10.5. Erm, yeah: it took me a lot of wrangling to figure out even how to do that. The thought of trying to compile an osx 10.4-compatible universal binary makes me a little...nauseous... In that case I shall have to wait until my other half returns from Sweden with appropriate equipment on Friday. |
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oliver sudden
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« Reply #192 on: 00:26:04, 09-09-2008 » |
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I would prefer to put it in terms of writing what one has never heard but wants to hear. Hm, that sentiment is making me think more of Chris Dench than either of his illustrious predecessors mentioned so far. But I suspect he's not the one you were thinking of. |
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stuart macrae
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« Reply #193 on: 00:30:08, 09-09-2008 » |
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I'm sure I've heard Birtwistle say almost exactly that as well.
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Robert Dahm
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« Reply #194 on: 00:43:56, 09-09-2008 » |
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I would prefer to put it in terms of writing what one has never heard but wants to hear. Hm, that sentiment is making me think more of Chris Dench than either of his illustrious predecessors mentioned so far. But I suspect he's not the one you were thinking of. Hm. Yes, I guess that which is 'unendurably absent' from the existing musical landscape is also, by extension, absent from your own inner ear. The chances of your 'hearing' something that isn't already there are pretty damn slim. Since that article, however, Chris has expressed a diminishing interest in writing music that he hasn't 'heard', yet, and an increasing interest in exploring the depths of what it is that he has 'heard' (although I don't think he'd formulate it that way). This is presumably what contributes to the textual generosity of works like eigenmomenta, but simultaneously what makes a more muscular work like énoncé unthinkable today. I suspect there are many composers who would have formulated a similar line of thought in more or less similar ways to Richard. I mean, it's been one of the central pre-occupations of Western music since the 1940s. |
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