... I'm curious, did you also determine before recording where the instruments would appear in the stereo space, or was that done later?
I'm always curious how deliberate composers are in their methodology and what they leave to chance or determine during the mixing phase.
Of what I am familiar with, this sounds very much like Frank Zappa's more relatively non-repetitive non-song-oriented synclavier pieces (or Project X off of Uncle Meat). Frank no doubt picked this up from other composers with whom I am less familiar, like Xenakis or Boulez.

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No, the spacing between the instruments occurs only once I can physically hear all them. In fact I've recently taken extra care in that particular domain since it was rightfully pointed out to me as lacking in some of my recent pieces. I probably go overboard now by splitting up the piano track into two: one for the left hand, and one for the right.

My methodology was born out of frustration this time really. I set myself some goals, especially as regards to time signature. I usually work by recording something first, and as my sense of rhythm is pretty intuitive, but also pretty lose, I end up spending hours, even days, trying to figure out how to frame it in some sort of coherent signature. I've even resorted to some stretching time grid plugin in Cubase which has got me into all sorts of trouble.

The modes and keys I tried to stick to in some parts was in order to keep the piece tonal, and force me in the process to learn and read about music theory which I'm ashamed to say is still pretty lacking.

I'm not familiar with the Frank Zappa piece. In fact I'm not that familiar with much of Frank Zappa's work. I saw him once conduct the London Philharmonic a long time ago which was pretty cool. But I will look up your reference, thanks.


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BTW, no reason to try and make your way through all of Zappa's synclavier catalog (most of it isn't like yours, but instead sounds as though Conlon Nancarrow had been given the opportunity to compose for "player orchestra" rather than player piano). I think that the 'Project X' piece is a suffiicient example.

---
Ars longa, vita brevis.

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I am really enjoying this. Tremendous subtlety, constantly engaging, just wonderful! Falls on the border between classical and jazz. Not exactly "Third Stream" (read about this term here, if you wish: http://en.wikipedia.org/wiki/Third_Stream), because there appears to be no improvisation, but it feels to me like it's in that vein.

This is a very accomplished work, and I'm really impressed. It's much better than a lot of new music that I hear at concerts (and I hear quite a lot of new music concerts). Congratulations!

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Once again, thank you Clark for such an endorsement.

I don't know. I don't think I'm a "Third Streamist". I didn't know that expression, thanks for the reference.

Invariably some Jazz element will creep up half way through a composition of mine which does not set out to fall under that particular genre in the first place. I sometimes wonder wether I should resist, and not give in. But then, so much of the pleasure would be lost for me.

I guess when composing there is a right balance to be found between freedom and restriction.
For me the seduction of freedom is still very strong.




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An excellent piece of work, lively, well structured with a super choice of instrumention. Particularly like the slow section towards the end. To me this piece has very strong modern jazz leanings with hints of Weather Report or Steps Ahead in places (probably it's the bass that's making me think that).

I know that St. Francis came from Assisi but there appears to be nothing saintly about your choice of graphic!

KK

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Thank you Komrade K. Glad you like the slow section towards the end. My fear was that I might have made it a bit too long in the tooth.

No, there is nothing saintly about the graphics. But the Spirit of Eros is most definitely present in one of its jolly manoeuvres. What better way to pay homage to dear old St Francis ?


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You should consider the Zappa catalogue. Some parts halfway here definitely remind me of some "Uncle Meat" parts.

Also try the fully orchestrated "The Yellow Shark", "Boulez conducts Zappa" and L.S.O. "ZAPPA".

Apart from that, there's a Dutch Freejazz band which makes very VERY interesting music. I ordered the CD directly from the female leader of the band. Here's the link (with an audio bit (it's a shocking piece)

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sorry, here's the link: http://www.trytone.org/cds.php?id=9

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Sorry again, name of the band is: "TETZEPI"

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