Originally written in '05 for players doubling, this piece has grown during several revisions. I think of this as my most "different" piece.
This is my first use of panning all the way across the "stage."
From 1 to 119. Instruments come out more clearly.
I didn't see this when you first posted it . . . and I was "floating around" in the Listening room. So when I saw it was posted an hour after my current time (???) I had to look again. (It was last night, not "now!")
This is one of the most interesting pieces I've heard in a long while. I'm on my third listen right now. It's really well done, musically! The panning helps a lot in hearing the whole piece.
There are a few places where some voices sound like synthed sounds (please elide past this comment), noticeable because most of the rest of the sounds come across really well rendered.
What really strikes me is how organically the lines interweave while retaining their independence. Then, too, there are interplays between instruments that harken to well done classics: the Piano/Clarinet, for instance, along the lines of the Brahms Clarinet Sonata.
Great contrasts in instrumentation! The Vibes make a nice contribution.
Thematically, this is a fascinating piece! (Seventh listen, BTW.)
Thanks for listening, Joe.
It's always satisfying to me when someone sees the Brahms Sonata
influence. I was caught during my college clarinet lessons by the piano-clarinet relationship of duple vs triple.
In ensembles-especially smaller ones-I like to have equal parts which allow each instrument to shine.
Thanks for listening, David.
It's funny how the mind works. You hear/read a point about playback, but it doesn't sink in. Then a few random comments-mostly from a variety of sources-turn on the lights.
That's where I've been with both panning and reverb.
SPACE between instruments so they come in different channels;
and loud instruments-high reverb, softer instruments-low reverb.
This is just outstanding! You have a tremendous grasp of modernism and conveying it through creatively eclectic instrumentation choices.
The vibes and piano in this seem to hold everything together as the other instruments in the ensemble wander off on their own, but consistently get pulled back into the flow. The obviously anguished emotions are very effectively expressed, especially via the saxophone. Great job on the recording and rendering, also. Bravo to you, Gary!
Thanks for listening, Danny.
When I first started my daily writing, I worked based on what I had taught for the previous 36 years. It was all tonic. When I finally presented a piece to a local comp teacher, he pointed out that there wasn't a single accidental in any part.
I've since learned that: octave leaps are no-no; change notes to avoid coming back to the same pitch; a half step change can make a note fit; clean is better than cluttered; ad nauseam..........,
Thanks for listening, Phil.
I've mostly avoided my inner-jazz during my full time writing the past four plus years. I now usually insert it in my music-especially when a sax is involved. You need to find your voice as you develop skills.