Re: Long notes for Piccolo?

Well, I never intended this to be a piece of concert music in the first place--I started with the strings droning in 5ths because, quite simply, I enjoy hearing strings drone in 5ths. I can set my sequencer on an endless loop and listen to them for hours, which I guess is my form meditation.

I added to it, piece by piece, at first wanting to accentuate the overtones, and eventually wanting to take them further "out."

I don't really want it to have a formal structure--what I really wanted was to write something that stays still (most of my music is wiggly and bombastic). I wanted something that would wash over me rather than engage me, that would be immersive rather than cerebral. So it's not meant to be "standalone" music in that you should sit and listen to it like you might listen to a sonata.

It's only recently occurred to me to actually transcribe this for a live ensemble. I'm aware that it's not possible as-is, which is why I came here asking for advice on the flute parts.

As a concert piece, I would like it to be largely improvised -- particularly the percussion and harp twinkles -- based on some basic pitch, timing, and gestural instructions throughout the score. Even the woodwind swells will be cued by the conductor rather than measured, although I will probably notate these with rough timings.

Anyway, that's a bit of the context...  Any thoughts?
chris.











Samuel Vriezen wrote: 
Steve Latham wrote:

"Samuel Vriezen" <sqv.do.not.spam@xxxxxxxxx> wrote in message news:43dbdcda$0$11071$e4fe514c@xxxxxxxxxxxxxxxxx

Mind if I comment on another aspect?

I enjoy the world sound you're after here but I'm not sure about the form, it seems a bit loose to me, it's a luxury carpet with lots of nice bits in it that do however seem a bit random to me.



Despite Samuel's comment, I actually liked this aspect about it. The "formlessness" did not bother me, and the random "tings" keep it interesting to me, as well as the two "hits" that occur. Now, if it were a little longer I'd probably lose interest if it continued similarly, but I think it's just long enough (for my taste).



But I think if you make an architecture of

this sound world which is based on the sounds that you feel confident you can have your players make, and if you have a good overview of that, you could get a little more control over how you let this texture flow and I think it might become more convincing.



I'm not sure what Samuel meant by "convincing", but for my 2 cents, I would rather hear a little bit more, what do I call it, "obviousness" - that is, I think things like this can run the danger of "just laying there" - maybe I'm trying to say I wish there was some "point" to it other than the evolution of the soundscape??? But still, I liked it and it doesn't bother me or anything.


Well, you know, this is not so far removed from how I hear it. I don't dislike what I hear but I think it can be a lot stronger.

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