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Aftermath


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composerclark

 Genre: Classical
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Well, here we go again... It's been about 4 months since my last submission.

Aftermath is a single-movement, concerto-like piece for solo percussion (vibes mostly, but also a 1/4 tone vibe-like instrument, timp, and tam-tam) and string orchestra. It was commissioned by the Newfoundland Symphony Orchestra, and written between July-December of 2006. I dedicated it to the memory of John Wyre, a unique, spiritual, and amazing percussionist (he was a longtime member of Nexus, and principal percussionist of the Toronto Symphony for many years), composer, and human being, whom I got to know during the last years of his life, when he moved to the relatively remote city of St. John's, where I live. John passed away while I was writing this, and he was very much in my thoughts as I wrote the meditative, hypnotic vibraphone cadenza (solo).

This is to be premiered this weekend (13 Jan., 2007), but since I am unlikely to have a live recording of it, I thought I'd post my MIDI version.

Duration: about 13 minutes.
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Song Stats
Hits: 4856
Comments: 65
Fans: 26
Plays: 248
Downloads: 149
Votes: 20
Uploaded: Jan 09, 2007 - 07:46:55 PM
Last Updated: Jan 09, 2007 - 08:02:39 PM Last Played: Feb 05, 2015 - 12:30:00 PM
Song License
Creative Commons License:
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Hardware:
Korg Trinity keyboard, G4 450.
Software:
Digital Perfomer
Comments
Bowman said 3912 days ago (January 9th, 2007)
Worth the Wait
My first impressions are that as abstract and as dissonant as you sometimes can be I never find it off-putting. On the contrary there is always beauty in your music. This piece builds to points of intensity then takes us to a quiet singularly intimate world where chimes are playfully played with and discoveries await us. But behind the play lurks a dark almost sinister aspect that wants to play but also is dangerous and easily stirred to an angry swirling vortex. For the moment youthful joy wins out. But will it always? I see great colors and movement in this and wonderful musical characters. It's been too long since your last submission Clark but it's been worth the wait.
Charles/Bowman

Check out my latest song called A FISTFUL OF PENNIES
composerclark said 3911 days ago (January 10th, 2007)
Thanks
Your comments are always so eloquent and perceptive... I really appreciate this. "Youthful joy" wins out at the end, as you say, but this was not the original plan, so, while I like the ending, I'm not sure it's the right ending for this piece. Originally, I had thought this would be a dark and perhaps poetic portrayal (thats alliterative, I know) of the aftermath of a catastrophe of some sort, which is why it sounds as it does for so much of it, but then, as often happens, plans changed as I got into it more, and it became more lighthearted, especially towards the end.

Thanks again!

---
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Ed Hannifin said 3912 days ago (January 9th, 2007)
Clark, I've got nothing to compare this to.
It's just different from anything with which I am familiar...

Hearing percussion used with an orchestra in this way is very interesting. I wish I could hear a live recording of this... I bet, among other things, that there would some real gravel and rosin down in some of those lower notes that be deeper and more dramatic, and I bet real massed strings will sound huge and have all sorts of air. I'm imagining it as I type. It would probably be wonderful to in the middle of the orchestra for that.

I'm listening to the 'meditative, hypnotic vibraphone cadenza' at this point, and it's beautiful.

This is one of those ones that instructs me in different ways to experience and approach and think about classical music, and it will be one of those that unfolds more on repeated listenings. If you ever do have a live version, I'd love to hear it.

Ed
composerclark said 3911 days ago (January 10th, 2007)
Thanks
Hi Ed,



I'm actually pretty nervous about hearing this live... there is often a big difference in how I hear a piece when I write it (in this case through MIDI) and how it actually sounds when it's played live, and sometimes the difference is pretty drastic. Time will tell, I guess.



I'd love to hear a recording of this done live too, because editing could be used to make sure the end result was a great performance, but it's not very likely to happen during my lifetime... But who knows; it's something to hope for, anyway.



I really appreciate hearing from you, particularly because this is not your usual choice of musical style, and it is my hope that any music lover might be able to get something out of the stuff I write.



Thanks very much!

---
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kristyjo said 3912 days ago (January 10th, 2007)
Whoa!
Obviously the NSO is featuring a professional percussionist. This really moves forward. The quarter tones make me want to move them up or down in my brain, so I have a hard time relaxing and just listening to that section, but it was interesting and had lots of contrast and enough melodic content to keep me here for all 13 minutes.
Congratulations on the premier! I'm sure it's exciting for you and for the orchestra as well as the percussionist.
Check out my latest song called Sussex Carol
composerclark said 3911 days ago (January 10th, 2007)
Thanks
Thanks Kristine. Yes, the percussionist is a pro -- he's a colleague of mine here at the university, and a friend. The string orchestra has a few pros, but is mostly amateur, although many of the string players are our best students, so actually the level of performance can be quite high, although obviously not as high as a fully professional orchestra. The upside of working with them is that the experience is usually pleasant, whereas working with a professional orchestra can be a nightmare (some orchestra pros take great delight in abusing the composer!).


Thanks for the comment.

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kristyjo said 3911 days ago (January 10th, 2007)
Abusing a composer instead of ignoring him!
What a novelty. I know what you mean, though. That's one reason I went into teaching- it's easier on the ego. (Also, I really am very inconsistent in the 'great new ideas' department.) This is a fine piece, and I hope your audience, as well as the performers give it the respect it deserves.
Check out my latest song called Sussex Carol
composerclark said 3911 days ago (January 10th, 2007)
...
Thanks. I appreciate it.

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Stun Nutz said 3912 days ago (January 10th, 2007)
lillillililillilil
I like the curious space that your notes dance around in. One minute calming (like a lullaby) and anxious the next (wake up!). Tickling the eardrums. Always intriguing.
Check out my latest song called stagnation
composerclark said 3911 days ago (January 10th, 2007)
Thanks
Thanks Eric. Interesting comment, and much appreciated. Cheers, C.

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Tadashi Togawa said 3911 days ago (January 10th, 2007)
Meditation on spirit
The spirit always overflows in your song.
Sound that approaches psychology.

I am pressed.

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composerclark said 3911 days ago (January 10th, 2007)
Thanks
Thank you Tadashi. You are a great musician, and you were the very first person here to comment on my music, and you have continued to be a wonderful and supportive commentator ever since. I really appreciate that, and I look forward to hearing more music of yours.

---
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Mcboy said 3911 days ago (January 10th, 2007)
definitely
20th century orchestral colors......alfred hitchcock was fond of such works.....as am i.....seems more post wwII in aural structure....third stream jazz was born from music such as this.....excellent composition....!
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composerclark said 3911 days ago (January 10th, 2007)
Thanks
Your comments show you to be a person of remarkably wide interests and expertise... very impressive! Thanks so much for this.

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Reinholt56 said 3911 days ago (January 10th, 2007)
I didn't realise....
I didn't realise that MIDI could be programmed in such an expressive way. From this version I can probably imagine how the premiere will sound. I think that it will be awesome. I wish that I could be there.

The vibes and plucked strings (towards the end) particularly had my attention, but there was an overall attraction to the interaction between the strings and percussion. The first time I listenend to the piece it was through laptop speakers, whilst I made something to eat, then I listened again through my headphones. Twenty six minutes or so of time well spent.

It's a pleasure to listen to something of this calibre on Macjams. Thanks for posting it.

Paul.


Check out my latest song called Back From Outer Space (A Reflective Ambient Mix)
composerclark said 3911 days ago (January 10th, 2007)
Thanks
Thanks Reinholt56. I am impressed that you were able to make it through this twice. I've been making MIDI versions of my music for (gulp) 20 years now, but I could use better sounds now. I notice that people who use GB get much better string sounds than I do, for instance. I enter everything a note at a time, then shape lines by adjusting velocities. I never play anything in, because my keyboard skills are poor. Anyway, I'm very pleased that you liked it.



Cheers, Clark

---
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moorlandt said 3911 days ago (January 10th, 2007)
feeling small
I am unable to write any decent comment for this caliber of music. Emotions, only emotions, but lots of them: fear, beauty, tension, surprise, balance, uncertainty, love & passion. Clark, I feel such a charlatan if I compare your music to mine. I'm feeling small and ordinary. I'm overwhelmed.

- Walter
Check out my latest song called Free (remix)
composerclark said 3911 days ago (January 10th, 2007)
Thanks
Hi Walter,

Well, you are anything but ordinary! But if you really feel that way, maybe you should think about writing a song about it; you could call it "Ordinary Guy." :-)

In all seriousness, I think you're a huge talent, and a poet, and I really appreciate hearing your descriptive words about this piece.

Thanks so much, and I'm very pleased you were moved by it.

---
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Scorpjammer said 3911 days ago (January 10th, 2007)
Just amazing
I don't know what software you're using on this one, but it serves you well. Or should I say, you serve it well - You breathe life into it.

This composition is just remarkable.

I'm hoping somebody records the live performance... Then posts it on YouTube - Wouldn't that be cool! :)

I can see it now as Professor Ross gets a standing O.

You got a stand O here, Clark!

BRAVO!




Check out my latest song called Christmas Time Is Here
composerclark said 3910 days ago (January 12th, 2007)
Thanks
Thanks Erwin! I'm glad you were able to have a listen. The software is Digital Performer, but I used it as a sequencer only, i.e. no audio. I enter notes on the screen mostly, or in step time, then tweak velocities and durations to control dynamic shaping, balance, and articulations. All of which is pretty boring, I know, and it's probably the way most MacJammers enter notes in MIDI.



A live performance would theoretically be great, of course, but I got back from a rehearsal a few hours ago and it sounded pretty bad (so much so that I can't sleep!!!), so even if it is recorded on Saturday, I don't think you'll be seeing a live version of this at MJs any time soon. :-(



Thanks again. I always really appreciate your comments.

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Scorpjammer said 3908 days ago (January 14th, 2007)
Not boring at all...
Thanks for the description of how you recorded your composition and I figured the video taping of the debut was a longshot.

Thank you so much for honoring us with the first listen to a mighty fine and fascinating piece of music.

Hey, I like your new profile photo! Is that a Gibson?

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Scorp
Check out my latest song called Christmas Time Is Here
composerclark said 3907 days ago (January 14th, 2007)
ES 335
Yeah, that's my trusty ES 335, which I've had for 30 years. The picture is from a jazz gig I had a few weeks ago.



The live performance happened last night, by the way, and it went amazingly well. The musicians really got it together when it counted, and the audience loved it, so I'm one happy camper today.

Thanks again Erwin!

---
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jiguma said 3911 days ago (January 11th, 2007)
Clark, I'm in way out of my depth here!
I can't really think of anything meaningful to say - it's simply amazing music. Thanks for posting it here at MJ - I for one am enjoying trying to get my head around something so spectacular and so different to what I would normally be listening to (and so long). Next thing you know I'll start listening to trad jazz :)
Neil

Check out my latest song called We End Up Being All The Same (42)
composerclark said 3909 days ago (January 12th, 2007)
Thanks
Thanks Neil, I really appreciate it. It's nice to have comments from people who don't normally listen to this kind of stuff... but please don't do anything rash, like start listening to trad jazz; it could lead to all manner of trouble and the breakdown of civilization as we know it. And what would be next? Palestrina? Men Without Hats? No, I'm sorry but this must stop now.



(But thanks all the same!)

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spitlogic said 3911 days ago (January 11th, 2007)
Powerful
I can feel frustration and tension coming out of this jam. I would describe it as a rollercoaster of emotions going from calm to not-so-calm then back to a little less calm than before. The vibes leading the concerto is like the memory of John and the emotions associated with it.

A very strong journey.
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composerclark said 3909 days ago (January 12th, 2007)
Thanks
Thanks very much. As I mentiond above, I'm always really impressed when people who aren't normally into this kind of music give it a listen and leave a comment. Very interesting comments.

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spitlogic said 3909 days ago (January 12th, 2007)
Actually
I do listen to this kind of music. Definately not enough to know names of artists or to even try to attempt anything like this on my own, so I guess that would make me more of an appreciator (if that is a word) of this kind of music.
As a collector of vynil one has to have an ear for all different kinds of melody.


---
(\__/)
(='.'=)
(")_(")
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composerclark said 3909 days ago (January 12th, 2007)
even more!
Well, now I'm even more impressed! You seem like a very interesting and interested person. I've always been into many different genres of music... it's fun to stretch out and try something in a different genre once in a while. Avoid boxes.

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spitlogic said 3909 days ago (January 12th, 2007)
Im clostrophobic
I hate enclosed spaces (and spieces).

---
(\__/)
(='.'=)
(")_(")
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mbehar said 3910 days ago (January 11th, 2007)
Intense
Reminds me of Varese .....very intense with alot of percussion, extreme angular melodies polytonality and polyrythmic
and I like it! Best of luck with the performance.
Going to listen to your jazz stuff
MB
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composerclark said 3909 days ago (January 12th, 2007)
Thanks
Thanks for the comment, and I'm pleased you like it. I have listened to some of your stuff too, very impressive. Your bio says you were born in 1959 in Havana, Cuba... I was born in 1957 in Maracaibo, Venezuela... which isn't all that close, I guess, but it's not all that far either. It's pretty far from where I ended up, though!

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TobinMueller said 3910 days ago (January 11th, 2007)
Intellectual
Lots of very nice moments. Love the variations, the balance within the invention. Very cool to have a vibes concerto commission, nice. As you undoubtedly know, MIDI strings lack expressiveness, and after your musicians make this into a wonderful piece upon live performance this track may drive you nuts, but it serves as a nice demo. There is a reliance on eighth note runs that, within this MIDI version, also seemed to lack the potential expressiveness of a real player, without the grace notes, syncopation and other articulations that could have given the performance more personality, making it over intellectual, in my ears. Thanks for posting this and break a leg this weekend!
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composerclark said 3909 days ago (January 12th, 2007)
Thanks
Thanks for the comment. There's a trade-off between MIDI versions and live versions; with the former you have tremendous control, but the sound is just not as satisfying as the real thing (when played well, anyway), and with the latter you have the sound of real instruments combined with the artistry that the players and conductors bring to the mix, which can raise the overall level several notches. The downside is that you get wrong notes, intonation problems, dynamics that I never intended, and so on. There's no way I'd argue that MIDI is better than the real thing, but unless you have access to a first class orchestra, which I don't, the real thing can be a bit less than ideal too.

Thanks again.

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Cameron said 3910 days ago (January 11th, 2007)
Stretching the Ears in a GOOD way
I was finally able to listen to this piece in its entirety for the first time this morning, as my hotel internet connection was bad yesterday.

I'm listening now for the second time, and what seemed extremely dissonant on first hearing is actually NOT. The ears simply need to become accustomed to the new musical "language", and then the brain is further acclimated with each successive listening. The music then becomes increasingly accessable and enjoyable.

Hearing this reminds me so much of my past experience of playing new works with various professional orchestras over the years; at first, many musicians reacted negatively because their ears weren't "used" to the new sounds, but after playing it repeatedly in rehearsals, would usually shift to a more positive attitude.

The only exceptions to this might be if their parts weren't idiomatic for the instrument, in which case the experience would be less rewarding.

There are so many elements to comment upon in this piece that it overwhelms my usual desire to take it apart bit by bit (lucky for you, LOL) -- so I will stick to generalities for the moment.

I particularly like the dramatic tympani pulses at the beginning. It feels almost like an irregular heartbeat, as though it's going to stop at any moment. Like catching one's breath, which creates tension effectively.

There is almost a "jazzy" feeling about 1/3 into the piece, which lightens up the earlier sombre mood. The inclusion of triplets throughout the piece is very pleasing in spots, a nice change of pace which offsets the more frantic running sixteenth-note passages that thread their way in and out.

The use of percussion is very artistic, and the vibrophone is such an interesting instrument to write for! It has a surprisingly large range of expressiveness, especially the one with the quarter-tone capability. The combination of "melodic" and "percussive" is stimulating, much like the piano except that the vibrophone here is treated more as a single-line, solo instrument.

The accompaniment of just string orchestra is perfect; it adds support without distraction which a full symphony orchestra with winds and brass might do, in this piece anyway.

The moods portrayed are as varied and complex and ever-changing as surely the man you've written it for.

A very fitting tribute! I would sincerely hope that this premiere is RECORDED by the Newfoundland Symphony Orchestra! Won't they? ....since it was commissioned, and honoring such a great percussion artist?

If so, I would very much like to hear it here in the future, if at all possible.
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composerclark said 3908 days ago (January 13th, 2007)
Thanks
Cameron, please forgive my delay in acknowledging your lengthy and incredibly thoughtful comment! Your description of the process through which the ears get used to something like this is interesting. I have heard it hundreds of times, perhaps over a thousand, in the course of writing it, and I am aware that the more I hear a work, the harder it is to listen with fresh ears; I am occasionally caught off-guard when someone tells me they find my music dissonant, because I have become so used to the sounds.



Having said that, however, I deliberately set out to make parts of this dissonant, because I was trying to convey an atmosphere of darkness, foreboding, intensity, etc., but in my mind at least, there is always a purpose for the dissonance.



One interesting aspect of the high speed, intense (and frequently dissonant) sections is that I tried to make it so that if you played it really slowly, say at quarter tempo, it would sound beautiful... each 16th-note harmony is what I consider consonant, but they move so quickly that they clash against one another all over the place.



Last night's rehearsal went quite well, and the players all seemed to like the piece... I think what you described is happening; it's growing on them. Hopefully.



Only a few hours to go before the performance. If it goes badly I'll just wear a bag over my head; I always keep one handy for emergencies.



Thanks again, Cameron. One day I'd still love to write something for you... horn and piano, or something along those lines.



Cheers!

---
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Bubowski said 3910 days ago (January 11th, 2007)
Truly Hypnotic
I love the transitions between parts of the piece. The cadenza has a minimalist feel to it...a nice change from classic percussion cadenzas where many composers tend to throw everything in there plus the kitchen sink. I can hear the sonorities and chordal structures, but the live orchestra will definitely bring the needed sonic power to the piece...MIDI just can't do a piece of this complexity any justice. Very nice! I hope your premier goes off perfectly.

--Graham
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composerclark said 3908 days ago (January 13th, 2007)
Thanks
Thanks for the comments, Graham. I must confess that when I began writing this I was thinking, "gee, percussion concerto... there are practically no limit on the number of percussion instruments I can use!", but then, as it was progressing, I was working out vibe-based ideas mainly, and it just seemed more natural to keep doing that. Thanks again.

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composerclark said 3907 days ago (January 14th, 2007)
Edit
"There is practically no limit..." Argh! Wish we could edit comments! Very embarrassing!

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said 3909 days ago (January 12th, 2007)
Very rich sonic language
This is really lush, and beautifully colored. Ed's comment about the sound of the lower strings when played live is very interesting, I think. I'm fond of MIDI sounds, and I like the artificial cast they give to the 'performance'; they don't sound like the real thing, but they also provide an aural palette that the real thing can't duplicate either. This is very good; enjoy the premiere!
composerclark said 3908 days ago (January 13th, 2007)
Thanks
Thanks for the comment, and I'm glad you enjoyed it. The sound of a real orchestra can definitely beat this MIDI version, but it's also true that a bad performance can sound worse... Not that I'm anticipating a bad performance, but, having heard a few rehearsals now, I can safely say that it started out sounding pretty bad. I'm keeping my fingers crossed about the performance. I'll make a point of checking out some of your music soon!

---
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scratch_harris said 3909 days ago (January 12th, 2007)
Vibatious
My God Clark when you disappear you don't waste time do you?? Just listened to this for the second time and it's clicked. Fantastic! So much room for expression once the live players get hold of it (sleep well...they'll get it). I felt it's equation (it's a verb) and almost disintergration in the middle pulling me down into it's subtle interior before a shaft of light 3/4 through with the solo vibe clusters brought me home. Challenging and Original. Great to have you back btw...Cheers!

Jon
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composerclark said 3908 days ago (January 13th, 2007)
Thanks
You make some of the best comments on this site... I hope you realize that! Ireally appreciate your thoughts, and your vote of confidence in the performance. Thanks again!

---
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cchaplin said 3908 days ago (January 13th, 2007)
Break a leg
I always seem to be latecomer to your wonderfull pieces. Break a leg for the premiere today !
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composerclark said 3908 days ago (January 13th, 2007)
Thanks
You're not so late... this has only been up for a few days. And even if you were, better late than never! Thanks very much.

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haribo said 3908 days ago (January 13th, 2007)
like opening a crust of a tree full of ants
this piece is indeed complex.
despite a massive degree of sophisticatedness, spontaneousness of wonderfully crafted rhythmic, multi-tonal layers at first sight, this piece perfectly describes emotions such as distress, hysteria with hints of underlying romanticism. This rings a huge bell for me whilst personally intepreting the moods described- The coexisting, intense and complex sides add to rich, subtle momentums to glitter shiner. For whatever reasons, the less obvious yet finely, panoramically described style of expression seems to simulate what happens in real nature even better. It captures a lot of subtleties, and, the spectrum of qualities of emotions is so broad. I found vibra solo sections and number of string sections healing, relieving parts along the journey. I really like the way this piece has been organised and structured. Thank you for showcasing this piece to us & i look forward to the premiere though being unable to attend!
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composerclark said 3908 days ago (January 13th, 2007)
Thanks
Wow! I am deeply touched by your comments. I really appreciate your openness in describing your reaction to this... it is hugely appreciated!

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composerclark said 3908 days ago (January 13th, 2007)
Thanks
Wow! I am deeply touched by your comments. I really appreciate your openness in describing your reaction to this... it is hugely appreciated!

---
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composerclark said 3908 days ago (January 13th, 2007)
Double post
Well... I am doubly touched, I guess. Not sure how the double post happened!

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Scott Carmichael said 3908 days ago (January 13th, 2007)
Sorry Clark... I haven't been
able to string together 13 free minutes... I keep hoeing to get to this...So now I have listened in chapters... and I don't think that's fair to the piece... so I will do the full listen tonight... but I have a question, and since no one else has asked, I will be the one to look dumb... what are 1/4 tones and how do they relate to the scale the way I understand it???... I will be back
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composerclark said 3908 days ago (January 13th, 2007)
Thanks
Thanks for having a listen to something that isn't exactly up your alley... Quarter tones are half the size of semitones; if you play a note on your guitar and bend it a little, but not enough to reach the pitch a fret higher, your creating a quarter-tone inflection (approximately of the pitch. A quarter tone vibe has twice as many resonator bars as a normal vibe... that's impractical for most purposes, so the one designed by the guy I wrote this for has only an 8ve range. For most vibes, this would result in 13 resonator bars (the bars that you hit with mallets), but in this case there are 25... Hope that makes sense?

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Macaudion said 3908 days ago (January 14th, 2007)
One would think that it was long enough...
But this coming to an end was far from what I was desirous of. - - I truly wanted to fav this one twice! One of the first times I listened, I thought, oh man, I don't have the words for how to describe what this tune is to me'... I thought well, the first thing that I'll need to do is get over my state of speechlessness about it.

This actually took a couple of days... REALLY

Then I thought well, just sit down and listen, start typing, and see what comes to mind but w/ no effort, what-so-ever.

Mostly, I sit w/ my jaws dropped while pondering the question, 'how could disonance be so beautiful'...

By becoming, 'Resonant disonance'... That's what keeps coming to me! That's what it is!

It's beautiful! This is truly a stunning work of art.

Thank you, Clark - Macca


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composerclark said 3907 days ago (January 14th, 2007)
Thanks
Thanks Dion, I was looking forward to your comment, and it's typically thoughtful and insightful. The thing about dissonance/consonance is that it's all relative. Music without dissonance is boring, so pretty much all music -- Bach, Beatles, Beethoven, Blues, etc. -- has dissonance. Some music has so much that it jars some people, but other people will hear the same music and find it beautiful. I'm glad you enjoyed this.

Last night's performance went' really well, by the way, and I was pretty pumped about it. Funny... a couple of nights ago I couldn't sleep because the rehearsal went so badly, then last night I couldn't sleep because the performance went so well...

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Komrade K said 3907 days ago (January 14th, 2007)
Spirited and spiritual
Whilst it's a shame that we're unlikely get to hear this with the full band your midi files certainly convey enough to fill in the 'gaps' as it were and imagine this performed with the fine acoustics of a good concert hall.

This piece doesn't stand still for a moment, it's vigorous, full of twists and turns and very exciting in the interplay between vibes and band. Even in the more reflective moments it's full of tension giving across a sense of a coiled spring or a cat about to pounce...

An excellent piece of work.

KK
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Cori Ander said 3907 days ago (January 15th, 2007)
Hi
A journey through human emotions.

A lot happens here. About the first third of the piece is dramatic and somehat erratic. Instruments show discomfort, as if they are coming in from somewhere - some milieu or situatione - which they aren't inished and done with. Then, quite suddenly, a section with less percussion, where strings and vibraphone are softer and more at ease. Harmony comes in - sensitivity and reflection. And when thereafter vibraphone is soloing, there is even more room for sensitivity and reflection. The next moment when strings and percussion is coming back is great - we are still in reflecitve/meditative mode while drama is returning. More upsettedness comes till the vibraphone can't stay calm anymore but get distracted and has to drop sensitivity and reflection and starts playing more upset - so much alike human emotion and social processes, hard and upset feelings puts out softer.

Very inspiring and interesting journey!
Thank you Clark!
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eanbardsley said 3905 days ago (January 16th, 2007)
I love it!!!
This creates for me the feeling of the stark and evocative landscapes, of extreme cold temperatures, with the white snow against the red sunset, where rugged individualism is born out of survival against higher odds!!! I love it, I will put this with my Sibelius for everytime I dream of going to Alaska and surviving among the wolves in an igloo of my own construction, which has always been the one reccurrent dream throughout my life.
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Youra said 3905 days ago (January 16th, 2007)
The great thing here%u2026
%u2026 at MJ is to give me the opportunity to listen to some music I will not otherwise. Great and very beautiful piece. I will listen to it tomorrow, with my pod in the metro. A wonderful cinematic place for it. Thanks for sharing, Monsieur Clark.
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Einarus said 3903 days ago (January 18th, 2007)
Quite the piece!
It's a real shame that you don't think you'll get a live recording of this. Like I've heard so many times in my dad's pieces, orchestral works like this sound sooooo much better live than in computerized sounds like these.
Now, that is not to say that this wasn't good (because it was), just that it is harder to hear *how* good it really is.

I've always liked the idea of 1/4 tones - it has a certain intriguing oddness about it that I like.

Like many of the previous commentators I love the vibraphone cadenza. Very minimalistic and very, like you said, hypnotic in a way.

It's always a pleasure listening to your work and the amount of musical depth and grandeur you bring to this site is wonderful.
Thank you for sharing this and I hope the premier went well!

-Einar S.
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Norman Goodman said 3902 days ago (January 19th, 2007)
My two cents.....
Musical imagry conveyed ( at least to my humble ears ) is that of a very chaotic situation, obviously such as the aftermath of some sort of cataclysmic event. In this respect I feel you have more than adequately conveyed the confusion and angst that one would experience after finding themselves having to absorb their surroundings after some sort of calamity. I particularily enjoyed the tension created by the vibe lines as they first played against the ominous mood of the strings then the frenetic nature of the vibe lines as the string section builds.
I wholeheartedly enjoyed the harmonic structure and the masterful phrasing
Overall music of this calibre is way over my head, however if feedback on songs is to be valuable, even unsophisticated opinions such as mine should be considered, if only for how the work is perceived.
You have certainly made a fan out of me.
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RickB1 said 3899 days ago (January 22nd, 2007)
Incredible
This piece is like navigating a treacherous waterway, with swirls, pools, rapids, rocks, and debris threatening to overthrow and destroy one at every bend, yet the journey itself is made beautiful by the changing tempo of the river, the dance created by narrow escapes and scrapes with utter catastrophe and destruction, and the tingling, electric adrenaline that remains after such a passage through the Valley of the Shadow...you are a wonderful artist who dares to take risks! This piece is quite an achievement!
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Enrique Gil said 3896 days ago (January 26th, 2007)
Masterfuly done Sir!
I had not listened to your piece until tonight (1/25) and was wondering how the premiere went. I am willing to bet it was great! I still don't know how you manage to put this composition together in midi ( I guess talent 20 yrs = a lot of experience). The vibs trigered a feeling of expectation, like waiting to hear what's next. Hopefully 20 yrs from now my midi talents will be a tenth of yours. Thank you for sharing.
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ktb said 3895 days ago (January 26th, 2007)
breathe
The bells were dissonant within themselves. you had to be in a unique place to score this. A carefully constructed artifice of imperfection, cherished for its conveyance of one persons emotion for another, Originally I had this playing on as I toiled away at work and then found myself transfixed and paralyzed by joyous, irretrievably cacophonous, thoughts. Jeeez, its all I can do to breathe.
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thoddi said 3892 days ago (January 29th, 2007)
whoa
I have not at all any talents/knowledge in the genre of music you compose and make Clark.

I only know that what I am listening to is masterful. The composition shows the work of a genius in how it is put together. Very intelligent moves. But you also have moods and feelings in place.

This stuff must take ages to put together.

Impressive:)
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said 3453 days ago (April 12th, 2008)
Dark Deep!
This is deep... From the beginning till the end, dark and deep. I can't comment on the performance or the composition because you already know that you're a master. This is a fine piece of work..... Great quality and recording!

Take Care
- Yeman A. Al-Rawi
composerclark said 3452 days ago (April 13th, 2008)
Thanks
Thanks very much once again, Yeman! I am in your debt for all the nice comments you have left me!
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Ergonem said 3393 days ago (June 12th, 2008)
microtonal keyboard perc?
This would really make a great addition to the keyboard percussion repertoire. Are you thinking of a custom-built vibraphone to produce the microtones, or do you have a different instrument in mind?
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composerclark said 3335 days ago (August 8th, 2008)
Thanks
Woah, I'm really sorry to respond so late to your comment! I totally missed it 'till now. To answer your question, the instrument is indeed custom made by the percussionist I wrote it for - he made it by cutting up mirrors into different length bars - but I could make a version for regular vibes too; I don't think it would lose much in the translation.
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Name: Composition Blog
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I've been teaching music composition and music theory at an east-coast university for 23 years, where I have also taught classical guitar and electronic music. I've been writing music for about 38 years, and still haven't figured out what I'm doing,... [see more]

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