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Topic: Un Voyage à Grande Vitesse

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  1. #1
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    Nov 2003
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    Talking Un Voyage à Grande Vitesse

    Symphonic Trance 2004-7

    Didn't bally-hoo this new original in "preview" mode here, but for those who would like to see the evolution of a "symphonic trance" piece over the course of about a week, you can start here and then move upward.

    The "finished" piece is all Garritan (GOS/Lite and GPO) with the exception that this is my first use of a new arrival -- the Peter Seidlaczek "Extended Classical Choir" in a very limited manner (sort of Ravel's "Daphnis and Chloe" wordless chorus approach). I decided to go ahead and spring the $220 for the Seidlaczek (in Giga format for use in HALion) so that I can voices before the Bela D stuff gets into some GPO format. (I need the vocal practice!)

    Comments/suggestions/brickbats encouraged, as usual!

    KevinKauai

  2. #2

    Re: Un Voyage à Grande Vitesse

    Kevin, I really like this. The only comments I have regard the short violin attacks starting at about 2:10. They don't really sound realistic to me and sound strangely synthetic and it really hurts the composition. I don't know if they're too static or that they aren't alternating or what. Oh and the bass early on in the song during the horn melody seems a bit too loud dynamically and detracts from the horn solo. I like the piece though. Very nice. I can certainly bob along to this one.

  3. #3

    Re: Un Voyage à Grande Vitesse

    Kevin, I just listened to the 'rework' of this piece. I really like the antiphonal approach in the short bowed passage now. It fits really well with your 'trance' theme. The bass blends in a lot better now and doesn't drown out the horn melody and the strings are now spot on.

    Where's my thumbs up icon? Nevermind. Thumbs up.

    Also, glad you brought the oboe up at the end. Very nice sound, dynamics are perfect. Love the pizzicato.

  4. #4

    Re: Un Voyage ˆ Grande Vitesse

    Kevin it's great that you posted the multiple versions of this piece. It's a testament to the impact that even subtle changes in orchestration can have. Very nice job. Was it ever difficult remembering where you were when you were working on it? It's a very cool piece. This would be really cool performed live. I really like the stereophonic effect in the violins about halfway through.

    It's also a dynamically visual piece. I can picture so many different things over this music. Like Phillip Glass, but more accessible. Very moving and beautiful.

  5. #5
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    Smile Re: Un Voyage à Grande Vitesse

    Thanks to Joseph for his observations and suggestions which were incorporated between the "first published" version and "first revision" (numbers 2 and 1 on the "Preview" page, but 3rd and 4th in the evolution of this piece).

    To answer jmc's query about whether it was difficult to keep in mind where I was in working on the piece, the answer is two-fold: [1] ordinarily, I make semi-cryptic notes on bars and beats; [2] with this piece the complexity of it started getting to me, so I had to have a slightly graphic "road map" which I implemented in the form of an Excel spreadsheet (that is now at the bottom of this post).

    As far as Glass goes, I can't help putting out these semi-Glass/Adams/Riley/Reich pieces with all of the lovely resources that GPO and GOS/Lite puts at hand.

    Enjoy! KevinKauai

    Last edited by KevinKauai; 09-12-2004 at 05:55 AM. Reason: typos

  6. #6
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    Re: Un Voyage à Grande Vitesse

    Kevin,

    I thoroughly enjoyed your "Un Voyage à Grande Vitesse - Symphonic Trance 2004-7".

    Joseph Burrell's comments about the attacks were right on and your revision is even better. Was it me or are the violins alternating between left and right? (Or am I up too late)? Cool effect and it works in this piece.

    It is really helpful that you provide a record of how this piece has progressed.

    And your "road map" is inspiring. It is an excellent way of keeping things straight. Great minds think alike - I remember taking a class with Philip Glass and he also mapped out how his instrumentation developed.

    Thanks for posting this and sharing your progress with us.

    Gary Garritan

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