The Union of Two Souls, Solar King and Lunar Queen, Alchemical ecstasy.
"...Call it the Living Water. Call it the Water of Compassion. Call it Amrita, the nectar of Immortality. Words must tiptoe around it hushed, bowed, and unshod. The outlines of two are faintly discerned in this melting convergence. Not two enough to feel even a single note of discord. Not one enough to forgo the bliss of other. You are I and I am You, the bond, ecstatic and arising neither with nor without cause..."
There is a reference of about 30 seconds, starting at about 2:02 in this to Randall Thompson's choral piece "The Last Words of David". The words in Thompson's piece that correspond to that reference are:
“And He shall be as the light of the morning, Even a morning without cloud As the tender grass, springing out of the earth, by clear shining....”
These words and the music on which they float like the diamonds of sunlight on a rippling lake express what I try to convey in this piece.
Last edited by KE Peace; 09-16-2007 at 04:14 AM.
Reason: add a quote of a poem
I like this. I seems to open up nicely about a 3rd of the way into the piece. I think the percussion sounds good also. I have never used the gpo percussion. I think I will try something with it. Great job.
To respond to some of your comments, thanks for saying I use GPO well -- but the truth is, I only know mostly how to use Finale (with its articulation markings, tempi and volume markings, etc). It interacts with GPO behind the scenes more or less. I haven't yet dug into the documentation on the details of each GPO instrument and using the mod wheels or other parameters to alter their characteristics or anything on the raw MIDI level.
Oh, Percussion! I don't really grok percussion at all. What I have managed to do went something like this: put a note on the staff. See what it sounds like. Move the note up or down on the staff and be confused whey it jumps all over the place. Then be confused about why when it gets back to the original staff line it is a different instrument. Give up and just play with it brute-force style until I hear something that sounds close to what I think I want, and use that. Use it alot, because it's the only thing I could figure out
Exception: the timpani are on their own staff. They have pitch. They behave like other pitched instruments. Ever wonder why most of my earlier pieces use timpani ALOT! Aside from the fact that I do love timpani, they also behave themselves.
I hope soon to dig into percussion for real and see if I can understand what is really going on....
WOW...really nice writing. I like how you take your time developing your musical ideas and then play them out, never rushed or forced. You selection of insturments for the mood works well too. Yes I use Finale as you know and it is a challange to detail the music sufficiently to get the most out of the score. But the effort is so well worth it. Thanks for sharing this with us.
You consistently turn out solid, interesting work, Karen;
but this is decidedly some of the finest I've heard from
There's some adventuresome and highly successful
orchestration in this; and the flow and balance and contrast
in the composition are quite well done. There's a good deal
of very Coplandesque thinking in this -- not imitative by
any means; but technically kindred in many regards.
(If I had to hazard a guess, I'd say you're discovering that
the notes themselves are largely irrelevant -- it's the music
The one area where I might suggest a little more thought
is in the finesse of the ending. (A union of differences,
Very enjoyable. The opening reminds me of Britten's "Peter Grimes" - in a good way, mind you. It's an interesting motive, and its return throughout is very effective. You manage to sustain a mood for a good length of time, which is very hard to do without tiring the ear - kudos for such an achievement.