I am currently deep in the middle of an ‘earthy – small ensemble’ project and I just got to the point this weekend that I needed to get away from it for a couple days. So I put together this ‘anti-earthy’ short piece. It has seemed to help me ‘blow it out’ and get back to the project at hand. I really just wanted to ‘jam away’ on Nick’s Hardcore bass (first 4 bars) but I couldn’t stop.
I don’t know many ‘rules’ of harmony, counterpoint, instrumentation, etc., but I felt the need to just ‘break’ the few rules I am aware of.
Motivation: “The End of the Line”. I wanted to write about a ‘cat and mouse’ chase scene. It has been a long time since I have played the piano with my forearms! It was frankly fun. [img]graemlins/tounge_images/icons/smile.gif[/img]
VSL, Sam Horns, bones, and Trpts, VOTA, Hardcore bass, PMI and Roland P-300 pianos, Tob’s percussion.
Hey thanks for the nice comments (nice description Craig!!!).
As far as \'counterpoint\' - i really want (as I get into this orchestral music) study it more formally. I tend to just \'improvise\' parts in now. I\'d really like to know what I am doing before actually just running the record button and playing away. I have forced myself to not play a sections part all at once but play each by itself. Lots to learn...
The VOTA on this was fairly simple. If I had more than just this weekend to horse around on this I would have likely used the \'word builder\' to make the choir more \'percussive\'. I think that AND the ability to work with the MW (intensity fo the choir\'s vibrato) is the key to this exception library. Without a \'legato\' tool, of sorts, I think it manages quite well stringing a line together. Try fooling around with the amount of \'overlap\'of the part to achieve some legato. Hope that helps.
Of course, like all the libraries we have, nothing like the real thing, but Vota gets you much of the way there. Using Vota to double 10-12 voices is also very useful.
Thanks for your comments. Writing music and predicting the outcome can be somewhat fickle at times. It seems like most the writing \'jams\' I\'ve done end up never getting legs, but it would be fun to develop this short little motif for the right project. Ah, back to my I IV V folksey progressions.
Your piece proves that even the bright, in your face stuff is no excuse for dumping all hint of melody. And in the beginning, one of the most realistic use of vocals I\'ve heard. Thank you for posting the samples you used.
Thanks for your kind remarks. I really had intentions of blowing out on this with something more along the lines of \'Bartokian\' type of theme (I really needed to get away from the somewhat sappy stuff I was working on.) Oh well, I guess I failed in that respect. I really hope that someday I have the opportunity to write a whole score with a more atonal perpective.