My only points would be that the music seems to be too short and that this piece could fit as the middle of three movements.

Around the one minute to one minute ten mark there seemed to be something unexpected happening and the ending seemed too sudden.

Overall though it seemed well put together.

Have a great 2007.

R.

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Yes I am thinking of making this a part of a larger work.
At one minute ten I rather suddenly lowered the pitch. I understand how you might feel the ending is sudden but at least for me it seems right and works.
Thanks for the close listen Reinholt and for your nice comments about the music.
Take care my friend,
-Bowman

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I completely agree with Reinholt about the fact that this piece could be a (middle) part of a much larger composition. But gosh, do I like those dissonant notes, especially from the piano!

- Walter

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is like a splash of cold water - wakes us up - keeps us alive.
I had fun with this piece and I do have ideas about incorporating it into a larger work - one day.
Thanks for checking it out and for the kind words moorlandt,
Take care,
-Bowman


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I don't comment much "classical" music because I don't have the knowledge to say something clever about it (while I can still say stupid things about popular music), but I wanted to express a simple thing that can stand in one word : bravo.

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I just downloaded the piece, and surprisingly saw that's its labeled "Stravinski growl b". I wanted to mention his name in my above comment, but did'nt dare in case it was stupid, corny or wrong. I really like classical music from the XXth century. Is it inspired by a special piece of Stravinski work ?

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That was my working title which I forgot to change before uploading. It is inspired by Stravinsky's Rite of Spring. Though not to my knowledge quoting it I'd like to think it as a spiritual cousin. You should check it out. Thanks for your interest Youra.
Take care,
-Bowman


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This has a very Stravisnkyesque feel to it. It think it is coming from the horn section. I would like to see the dissonance resolved at some point. The moment the dissonance is resolved into euphony the ears rejoice. Stravinsky was a master at this sort of thing.

This is a very nice tune. Keep developing it.


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in a fast car through the woods being chased by undercover music critics just kidding but it des have that suspense feel like any minute something is going to happen realy good piece of music

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Reminds me of Grieg at the very start; something to do with the rhythm and the very first string chord. I guess I can hear a little Stravinsky, but to be honest, it doesn't sound that Stravinsky-esque to me. If people are thinking of the Dance of the Adolescents from Rite of Spring, the quality here is quite different, mainly because Stravinsky's accents are HUGE, and consistently irregular. Also, the tempo in the stravinsky is slower. This piece has more of a flow to it; I like the intensity, and I hear a quality of desperation expressed in the wind lines. As with so much of your music, it conjures up vivid imagery.

I like that you're venturing further afield in terms of your use of dissonance. My only thought about this is to keep going! Keep pushing the envelope! Dissonance and consonance are relative. You can have a sense of resolution if you move from an extreme dissonance to a less-extreme dissonance. But for my tastes, having a piece like this resolve in some clich�ed way (like to a major chord) at the end would wreck it, so I actually like the way you end it.

Is it too short? Depends. It has a nice feel, lengthwise, as is, especially if it's to be used in a film scene. As a concert piece, it could also work as is, if it were part of a suite, as Reinholt56 suggests. What *I* think it should do, FWIW, is grow, grow grow into quite a big, brassy, kick-ass piece. But this is easier said than done, and there's absolutely nothing wrong with it as is.

Okay, having said that, there is something that's not great to my ears, and there seems to be quite a bit of out-of-sync playing here, the kind of thing that would be easily fixed by quantizing notes in a sequencer. I seem to recall you don't use a sequencer, though (?), so I'm not exactly sure how you'd get around this.

An impressive work, definitely deserving of a high score.

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I glad you noticed the wind lines to this piece. I think it's so forward driving that they aren’t as easily remembered but the contrasts are a major part of this and they are a vital part of the whole.

I know what you’re saying about Stravinsky's tempos being more irregular and accents much larger and I agree. Greig? That’s interesting.

Since last summer I've been working exclusively in GB helping me to feel more like a composer and less like an improviser on the edge. I think the out of sync areas come from the delay in the computer processor as I build the piece. I try to anticipate it put not always successfully. I need to go back in and make incremental adjustments. I haven't had much success with quantizing which for me usually mechanizes the performance. Thanks for the in-depth review and the kind words and constructive critique Clark.
Best,
Charles/ Bowman



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The clarinet really set my teeth on edge the couple of times you pushed the range and the volume at the same time. You had a really strong, driving beat there that was excellent. Yes, the ending was sudden, but that seemed totally in character with the whole piece. This is a fine piece of anxiety inducing music. (and I mean that in a good way!)

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It's different from some of my calmer more lyrical works here on MJ but we all have different facets and for me it's fun to explore them even if they do cause occasional anxiety. But like you said that's not necessarily a bad thing.
Glad you check it out and thanks for the kind words Kristyjo.
Take Care,
-Bowman


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while I enjoyed it, it also gave me feelings of anxiety, waiting for something terrible to happen! I love it when music stirs emotions! Thank you.

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