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Topic: Ode to the Columbia and Discovery Shuttles

  1. #1

    Ode to the Columbia and Discovery Shuttles

    I have had to abandon this work, due to sorrow, but then why post an unfinished work (the performance is especially rough)? A forum member here quoted a composer, was it Satie?, who said something like it is not music until the musicians are playing ... And so is a piece not truly created until it is heard by someone?

    Warning: Modernish Mish Mash, 10.9 Mbytes, 9:20

    Ode to the Columbia and Discovery Shuttles

    Program: Overcoming the sorrow and technical problems of the Columbia disaster. Discovery is readied for launch. Alarm. Space walk repair. Touch down.

    Fanfares are difficult for me in this style, so the ending is weak - but at least there is an ending! But I am fond of the slower parts. I started the piece as a celebration of the recent successful Discovery launch and return. But during composing, a couple of deaths in our small town made the themes overly sorrowful.

    From the feedback from a previous piece, it seems that appreciating modern music is as much an intellectual endeavor as a musical one. So some words should be said about the compositional method. Unfortunately, I am utterly (and blissfully) ignorant of modern music, so there is little that I can say. Still, if one aspect of music from the 18th and 19th centuries could be described as tension-release, then I would describe this music as chaos-calm (or better chaos-more chaos). Strands (musical lines) are created whose pitches vs time have a mathematical similarity with other strands and to itself. This is more than just repeating motifs; the motifs themselves expand or contract, becoming more complex or simplified. Careful listening can expose how a simple motif, with something akin to simple subdivision, gradually evolves. This similarity, especially when distributed over several voices, often gives the illusion of counterpoint and like contrapuntal works, helps to unify a piece. The similarity gives great rhythmic drive, the single most appealing part of this method. Approximate 4, 8 or 16 measure phrase constraints help to give period/sentence structure. The scales used in this piece were: c, d#, f, g ,a# and c, c#, d#, g, g#; shifted were appropriate.

    All GPO with multiple SIR instances of the 350seat impulse set from noisevault.com

    Take Care,

    My other works in this style previously posted:
    Running Scardzo


    Pelotonin: Tribute to Le Tour de France

  2. #2
    Join Date
    Aug 2004
    Somerset, Massachusetts

    Re: Ode to the Columbia and Discovery Shuttles

    Hi YBaCuO,

    I am listening to your compositions right now.

    Your music is not “the Top 40” candy that is understood with one listening. That is why many people may take the time to appreciate it.

    I find your music very interesting with a huge energy level!!!

    I am very curious to know your thinking process as you compose. You have the ability to “stretch” out and make your pieces evolve. I tend to work over the same material, ending up with short pieces, and then moving onto something else.

    I think that happens to a lot of us. It takes a lot more concentration to develop an idea, than to just put it down when the idea comes to us.

    Anyway, you deserve much credit. I have been surprised by the lack of more modern pieces from the GPO community.

    Thanks for sharing your music.

    Best Regards, Linda

    “Great spirits have always encountered violent opposition from mediocre minds” – Albert Einstein

  3. #3
    Join Date
    Oct 2000
    Orcas Island

    Re: Ode to the Columbia and Discovery Shuttles


    Thanks for posting your unfinished work. Sometimes the unfinished works are among the best.

    Your piece was very enjoyable and refreshing to listen to. Incredible textures you have created. The work is highly creative and replete with imaginitive ear candy. I listened again with your program in mind and you captured in music the suspense and vital story of the Discovery mission.

    Your explanation on the compositional method is fascinating. I like your chaotic/evolutionary approach to composition.

    I agree with Linda that you deserve much credit in light of the paucity of more modern here.

    Looking forward to hearing more of your work.

    Gary Garritan

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