is this writing a "symphonic poem" music following and evocating images of places and natural events, in a "soundtrack-without-pictures"?
It seems to be. Tell me more if you like.
The South Mountain Sketchbook is comprised of pieces I score in a small music notebook. They are generally musings, more than formal works -- portraitures of something occupying my thoughts at the time.
This piece in particular was written as an horrendously severe line of thunderstorms moved over our mountain. My home was struck by lightning that day... literally as I was working on this little piece.
Yep,its true I'm turning into one of your biggest fans I really enjoyed this one as well,The score has a nice transparency to it,and a few of your turn on a dime harmonic lurches.
Another of your trademarks I particulalrly enjoy is your slightly unconventional placememnt of Crotchet triplets(Is that Quartenote triplets in American )Perhaps it's inevitable that "Elemental" music makes one think of Beethoven and Wagner,but I found your piece to be quite original and in common with your other works it seems to let in a lot of Light.
Would I be wrong in thinking that Light is preconception of yours "et lux"
Congrats on another stormer...........
Thank you so much, once again, Joaz! Were I choosing, I could not have a better "fan"... and not so much for the nice words; but for the astuteness.
In composing a piece for orchestra, I very nearly synesthetically "see" the music in terms of light and color and space; so yes, the concept of light, and how it radiates and reflects and shadows, is integral to my approach.
The triplets so often unconventionally positioned within the rhythm or offset from the beat, are, indeed, characteristic. It is frequently a useful way to provide both propulsion and fluidity.
"etLux" is, yes, an elision of idiomatic Latin "et lux" (and light); which means, roughly, "and there is light". It is a name acquired over too many pints of beer with three British physicists, years ago, due to an optics algorithm I'd written that rather perplexed but then delighted them.
Around the 'Net, I'm mostly known by that (how I sign scripts); so I simply continued that, herein.
Thank you again for lucid insights! I believe you see this work more clearly than I do myself.
I really enjoyed this piece, it had so many elements of different eras in music. The only suggestion I would make is not to call it a chamber orchestra piece since you won't find any chamber orchestras with the full Horn in F section and trumpet. Not that they couldn't hire one.
You made me wonder if Gary might be sampling chamber orchestra sized strings for GPO Adv. (4 Violin I, 3 Violin 2, 3 Viola, 2 Cello, 1 Bass...approximately)
Great job, I am also becoming a fan of your stuff.
DMA Student and Teaching Asst in Music Theory/ Composition at the University of Miami
Thanks, Jess, for giving it a listen, and for the kind words!
We have such a rich heritage of music behind us -- it's irresistible to render due respect toward its influences!
"Chamber Orchestra" of "Chamber Ensemble" I generally use as something of a catch-all to describe mid-sized ensembles that include parts of the string, brass, and woodwind sections -- but not all the instruments.
That's historically shaky, and perhaps incorrect, I agree... and I'll wager some of our finer musicologists in the forum can set us right on proper use of those terms.
David: Your composition is excellent and so is your use of GPO. Additionally, the mixing on this piece does justice to your composing skills. After reading your BIO, I can understand why your music is so thorough.Originally Posted by etLux
It must be heaven on a Mountain in New England.......Keep writing.......
Jack Cannon--Toshiba laptop, 2.8 GHz CPU, 1.5 GB RAM, GPO4-JABB3-Auth. STEINWAY-Gofriller CELLO-Stradivari VIOLIN-COMB2-WORLD, FINALE 2009/11, RME Digiface, Cardbus, V-Stack---Mac Pro 2.66 GHz CPU, 8 GB RAM, DP 8, MOTU Traveler, MOTU Micro Express.--MacBook Pro 2.2 Ghz CPU, 8 GB RAM.
Yet another amazing piece. There is a real sense of freedom in the music that you are writing from a very raw honest place. It feels very easy, for lack of a better term. While you've created a programmatic sense of tension, there's an overall sense of effortlessness to your writing. It's almost like you enjoy music or something... Very nice.
And I think modified chamber orchestra, or expanded chamber orchestra would suit. I don't know. I've run into the same problem, where you have four violins, five violas, one cello, two flutes, a part time clarinetist, one horn, and trombone with piston valves, oh wait, that's community orchestra. Nevermind.
It's simply wonderful to hear your piece and follow the score along. Your subtleties in rhythm and texture are simply (literally) awesome! So where do you "stand" on "program music"? You note that it was written in your composition notebook under specific atmospheric conditions, but I can't tell if you are really providing that as a "program". In any case, it stands very satisfyingly (for me) as wonderful "absolute music".
By the way, I can't see "et lux" without finishing it as "et lux perpetua" (mainly because of involvement with the Faure "Requiem" at an early summer session -- as a teenager -- of church music in Berkeley, CA).