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 (nobody)...and 163 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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Members 8025Messages 2614200 Today 4 Topics 127548 |
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A 12 tone piece (not strict) for flute, oboe, and piano. Enjoy! |
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sounds like I am watching a scary drama tv show from the 80s |
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SPAM spank peppies asshole mike |
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very nice and sounds proffesional - but too sad for me :( |
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it sounds a bit too pretentious for me, sorry |
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I hope thats not real piano because if it is, whoever is playing it is very bad. I don't like it... the third instrument to come in, I assume its the flute? Sounds horrible. Maybe you made this to be played on live instruments in which case it might work a bit better. It does sound a bit like an 80s daytime soap scene in which someone investigates something in the dark and possibly finds an incriminating photograph. |
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of donkey sex "eeeuuugh" |
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thanks for listening guys :) dannn_ yeah, its done on the computer, so there is a lot missing from a real performance. just curious what you mean by the piano playing being bad? If you are refering to the anticipated notes, thats intended. |
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is it serial or just atonal? I really doesn't sound serial at all to me. |
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its serial. I just constructed the row to have tonal implications. (which is why I say its not strict) |
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The piano, it seems like the keys are being hit too hard... some parts it sounds like just random notes being played again and again |
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"some parts it sounds like just random notes being played again and again" thats 12 tone for ya :D but yeah... it was sequenced, so theres a lot of stuff that is missing, including proper performance techniques etc. |
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A TV show done by roman polanski. :D *currently listening* |
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overall i found it to be an enjoyable track. I liked what you did with it. Are you more or less making music like this now? I remember when you were making ambient. Do you still do that or are you looking to add (Stuff like this?) to it? |
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well, Im doing a duel major in composition and music sythesis... and for the composition major, only chamber/orchestral works are allowed... so it all has to be real instruments. this piece was for class, and its this instrumentation because these are the players that were availible to read the compositions. Im still doing ambient, but yes I would like to add more orchestral elements to it. Not over the top, but subtle stuff. Do you know the Solaris soundtrack, by cliff martinez? Something like that, mixed with more synths and sounddesign/soundscape stuff. this is the first real 12 tone piece ive written, and while it was very interesting, I dont think its for me. I like sustaining chords and slight harmonic changes... the constant motion of the tones without repitition until the cycle completes can be frusterating at times. It certainly is good for coming up with new sounds etc, and I could see myself incorperating some of the techniques into other works, but no straight up 12 tone pieces. Im glad you liked it btw :) Thanks for listening! |
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700 miligrams of cum injected into my veins |
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Maybe I missed what you were trying to do here because I don't know what 12 tone means... |
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but the basic idea is that you make a "row" of pitches, using all the 12 availible notes. how you order them, defines the overall sound you will get. you then use this row (and all the various inversions, retrogrades, and transpositions) to write music with. one of the main rules, is that you do not repeat a note again, until youve gone through the entire sequence of notes first. You can develop both chords and melodic lines this way, and you may also combine the various row transpositions, inversions, and retrogrades in any way you feel. in strict 12 tone writing, you try to avoid any tonal implications, however many composers have used the 12 tone technique in tonal ways. my piece is oodles of tonal implications, which is why I said it was un-strict. But I am still following the basic concepts and rules of the 12 tone. |
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*the point of 12 tone, is to free the use of intervals without expected resolution, like in traditional harmony. its the relationship from one pitch to another that is emphasised, and not a "harmonic motion" etc. |
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Wacky stuff. sounds like it probably worth ignoring |
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i like webern though |
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that sounds interesting. i should try it sometime... thanks for explaining it here. |
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webern was a genius. sorry my first attempt at something he did all his life doesnt live up. :-P |
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You must know that it's the most un-emotive shit ever. 12 tone is a technicality that's bullshit. Did you expect any positive results from heare or were you going to rejoice in their ineptness? |
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I think you are very wrong. Sure, some of it can be, but some of it can be amazingly beautiful too. And it is a dying/dead form.... some people still use it, and mostly its only little concepts here and there... but to say all of it as a whole is crap, well thats just idiotic. This piece was an assignment for class. Kind of like writing a fugue just for the educational value, thats how this assignment was... for historical perspective. So im not defending 12 tone with my life here... its just I think to say its all unemotive shit, is silly. |
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Don't answer honestly! I'm being silly. |
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youre silly. |
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william orbit would be so proud... |
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youre william orbit. |
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I'm not here to discuss my music that's for sure |
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hehe, it's just he said that the system was just just a means to an end of making music and this sounded a bit to much let's make something pretentious. i really digged your la mia mente though, as i stated before |
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and? |
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I think the term "pretentious" is thrown around a lot, and in quite literally, a very pretentious way. :D |
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Don't 'Zeus'. your music whether it was interpretated through live musicians was shit! Emotivley it means absoloutley nothing. Have you heard 'Contact' by bridget Bardot? That has more to say tonally than any pseudo nonsense you seem to be in to. I'm trying not to be horrible to you but there's more to music than the academic interpretation of emotion. |
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the idea behind the series is, i figured, you get as little repetition of notes as possible, hence it's the most difficult to make catchy stuff, hence it's better if you do anyway |
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neither am i. but if you think for a moment, you have to understand that some people like to nurture their groovy distortions otherwise their musical ideas will freeze. |
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Stop it! I'm sure the pioneers of the hypnotic groove would make them freak. |
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what i'm trying to say is if you want your music to advance, you have to be unafraid to linger around here, otherwise you become all tied up & shut down |
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I know this! I'm going to probe other vents of my silly mentokness. |
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thats true, the music is there... but there is something thats lost from computer mockups of music, or else players would become pointless, and software would rule. if you dont like it, thats fine. but please dont assume that Im into some soulless academic ideal of music. If that was the case, I wouldnt spend a lot of my time on an electronic music msg board. I think there is a lot of interesting things in academic music, that id like to apply to my own music, and thus I study it. Which inevitably means that I am required to write music according to an academic standard for my courses. but you are very, VERY wrong if you think I am obsessed with, and living in a world of academic music. |
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hmm.. it sounds a lot like free-jazz... you should have had a upright bass instead of the oboe, though... it's a good, but not great track... much like this jazz-concert I was at last saturday (drums, bass, sax.. I don't really like sax-sound...). It was.. OK. it's dark in a way that would justify immense amounts of reverb and jan garbarek on horns, which isn't bad, nor good, but the song is merely a skeleton as it is now, isn't it? the pianoman, a drummer and a guy on upright bass (figuratively speaking) would make a classic trio, and these often sound pretty damned good (which is the reason there are so many of them), so if you change the instruments and add some nice impro-drums, the entire mood of the track could change... and if I were you, I'd record the piano notes with midi or preferrably a real piano to make them sound more "natural." |
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are you allowed to use hackzed software you might have for assignments zeus? |
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Ha Ha! My girlfriend has done your course and she's a 'Master' at the moment. She studied in Boston, London and Amsterdam. I'm not trying to be - little your efforts. I think it's great! You've got to take critisism at face value not at your life plan. |
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well, the instrumentation was based solely on the players that we had to perform the pieces in class. as for the piano... I could have gone into a lot of editing detail, but we werent turning in a recording... we were turning in music to be read and performed... I just put this together to get peoples feedback on the basic musicality of it. Thanks for listening! |
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Can you post a sibelieus file for fun? |
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wtf. I wrote a reply, and realized I hadnt click on your #, and when I did, it cleared my response! Bah! What I had said though, was I just tend to get pissed easily when people tend to assume they know my thoughts on music and etc, based solely on the fact that I study music (and it happens a lot actually... its fucking annoying.) So I can get snappy about it, easily... I do appriciate your feedback, and so Im sorry for being snappy with you. |
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Forget it. My spelling is crap! Do you work in Sibelius? |
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I do! |
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I need loads of passwords and that |
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