New composition work
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Szervusz Marton!
Great to hear some compositions. They are like a musical score for your artworks: ethereal with a sad and dark side. I like the compositions and your use of the electronic instrumentation, but don't think the violin fits in its recorded timbre. It sits very aside from the other sounds, but is not playing melodic ideas and is more like part of the background. Maybe you could modulate the violin to fit better into the soundscape?
Excellent effort and definitely communicates a feeling as does your other artwork.
Thanks for the post.
Great to hear some compositions. They are like a musical score for your artworks: ethereal with a sad and dark side. I like the compositions and your use of the electronic instrumentation, but don't think the violin fits in its recorded timbre. It sits very aside from the other sounds, but is not playing melodic ideas and is more like part of the background. Maybe you could modulate the violin to fit better into the soundscape?
Excellent effort and definitely communicates a feeling as does your other artwork.
Thanks for the post.
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Nice Hungarian Wade! Great comment Wade. I know exactly what you mean about the assimilation side of the violin in these comps. I feel exactly the same way except at this point, not real sure how to overcome it. I'll have to keep at it till it behaves itself. Maybe something to do with the format - dunno. Anyway, thanks again Wade.
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I actually liked the violin, and found myself wishing that it had been more of the focal point without actually changing what the violin was playing. Of course the only way to do that would be to get rid of most of the electronic sound effects, which are probably an important part of the compositions for you. I was thinking that it might sound very nice with the violin as played, accompanied more simply by something like hang drums and/or didgeridoo.
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Thanks cooooljazz, at some point I'll do something with more trad instrumentation, but for the moment I'm finding the more abstract stuff a little too interesting. Actually at one point I played in a band with djembe and other percussion, thumb piano etc and me on violin.
You have two pieces at Soundcloud and so I listened to both.
Nitrogen has a poignancy to it that I enjoy. I personally felt the violin fit in
perfectly to enhance the overall aura, as in the darkness it appears to represent.
I liked how it modulated right into Miracle. Very sullen depicted sequence, as in Nitrogen.
Let me ask you. At 1:13 it suddenly drops out. Then it picks up again. Does that have a specific purpose?
I wouldn't tell you what to do there because you may have a reasoning behind it. I'm simply curious about it, as in understanding
the correlation behind Miracle and this modulation.
Your violin playing reminds me of Don 'Sugar Cane' Harris on Zappa's Weasel Ripped My Flesh album. Pretty cool!
Nice work and I enjoyed your violin playing Stephen. I share in your enthusiasm for the abstract!
Nitrogen has a poignancy to it that I enjoy. I personally felt the violin fit in
perfectly to enhance the overall aura, as in the darkness it appears to represent.
I liked how it modulated right into Miracle. Very sullen depicted sequence, as in Nitrogen.
Let me ask you. At 1:13 it suddenly drops out. Then it picks up again. Does that have a specific purpose?
I wouldn't tell you what to do there because you may have a reasoning behind it. I'm simply curious about it, as in understanding
the correlation behind Miracle and this modulation.
Your violin playing reminds me of Don 'Sugar Cane' Harris on Zappa's Weasel Ripped My Flesh album. Pretty cool!
Nice work and I enjoyed your violin playing Stephen. I share in your enthusiasm for the abstract!
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Hiya Mike, thanks for listening. Oh I like the sullen description! Not sure why I did the dropout exactly, I think I just like the dynamic of stop start. To be honest I think I overplay in Miracle, but I'm putting it down to part of my learning experience where recording is concerned.
I'm very enthused and excited at being able to finally begin recording my own stuff. I've got some pieces written for sax which I'll upload as soon as they're done.
I'm very enthused and excited at being able to finally begin recording my own stuff. I've got some pieces written for sax which I'll upload as soon as they're done.
Grafton + TH & C alto || Naked Lady 10M || TT soprano || Martin Comm III
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I wasn't which of the three tracks you meant, but idid actually like all three.
At one point a picture of a couple of naked people and flying furniture popped up. Not sure what that was but it was a pleasant surprise.
The violin especially works really well! Looking forward to some saxophone as well.
At one point a picture of a couple of naked people and flying furniture popped up. Not sure what that was but it was a pleasant surprise.
The violin especially works really well! Looking forward to some saxophone as well.
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Thanks Pete, you're very kind. Hah, yeah the flying furniture and naked couple, that's some digital art stuff I completed a few days ago.
I've got about half a dozen pieces suitable for saxophone which I'll get started on today actually. Obviously I'm going to be a bit nervous about those ones being listened to by saxophonists much better than I, but in the end what doesn't kill me can only make me stronger. That's what I've heard people say anyway.
Very much appreciate your comments.
I've got about half a dozen pieces suitable for saxophone which I'll get started on today actually. Obviously I'm going to be a bit nervous about those ones being listened to by saxophonists much better than I, but in the end what doesn't kill me can only make me stronger. That's what I've heard people say anyway.
Very much appreciate your comments.
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I'm half Hungarian, so can reveal that Hungarians are the type of people who get in a revolving door behind you and come out first.
I must admit and I hesitate, but I have never tried to nail jelly. Possibly it can give rise to unsuspecting thought
while in the act of trying to nail jelly. I'm more of a nailing water type of guy but that's just me!
Maybe it's something in the consistency?
Stephen, you have such a dark approach in your recent compositional style. Is it the Hungarian in you? I can't be mean regarding your
nationality. In fact I can't be mean in general. It's difficult when not provoked but I do defend the openmindedness of it all which always warrants a defensive attitude.
I enjoy your music very much because it's pure passion. Your saxophone playing is subtle and you embrace the notes which dispels cliche which apparently is always
expected to come out of a saxophone. Saxophones, in reality, are not tied to tradition and should not be expected to elongate tradition!
Sure, you're relatively new at the saxophone but how you're dealing with your level is just fine. I'm not the usual type of critic who always goes for the obvious.
I refuse to ever offer anything how I would do it because I didn't write it. Usually, most individuals put their own mind, as in how they would approach it, into what someone else did and to me that's highly irrelevant and disrespectful to individual expression. As in compostion, not necessarily improvisation where people ask for advice.
My only stance can be to try and understand how the composer thinks from what I've heard. Not to try and alter that expression. I enjoy your idea's very much Stephen!
while in the act of trying to nail jelly. I'm more of a nailing water type of guy but that's just me!
Maybe it's something in the consistency?
Stephen, you have such a dark approach in your recent compositional style. Is it the Hungarian in you? I can't be mean regarding your
nationality. In fact I can't be mean in general. It's difficult when not provoked but I do defend the openmindedness of it all which always warrants a defensive attitude.
I enjoy your music very much because it's pure passion. Your saxophone playing is subtle and you embrace the notes which dispels cliche which apparently is always
expected to come out of a saxophone. Saxophones, in reality, are not tied to tradition and should not be expected to elongate tradition!
Sure, you're relatively new at the saxophone but how you're dealing with your level is just fine. I'm not the usual type of critic who always goes for the obvious.
I refuse to ever offer anything how I would do it because I didn't write it. Usually, most individuals put their own mind, as in how they would approach it, into what someone else did and to me that's highly irrelevant and disrespectful to individual expression. As in compostion, not necessarily improvisation where people ask for advice.
My only stance can be to try and understand how the composer thinks from what I've heard. Not to try and alter that expression. I enjoy your idea's very much Stephen!
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Thanks for listening Mike. I've edited "Nailing Jelly" since. Re the dark approach; It's just my approach at the moment. I think you'd agree that a one dimensional human being would be an utter bore, so I think you'd be surprised at the more breezy sounding stuff I'm working on at the moment.
Yeah, I'm nowhere near as proficient on sax as I am with violin, so it is what it is, and personally speaking I don't really want to play anything - violin included, in any tradition. For me that's not very satisfying, although, I am going through the whole learning jazz standards approach where sax is concerned. I'm really only doing that for technicality' sake. It's fun at the same time and I really enjoy playing sax. I'm a Colin Stetson fanboy I have to say.
Yeah, I'm nowhere near as proficient on sax as I am with violin, so it is what it is, and personally speaking I don't really want to play anything - violin included, in any tradition. For me that's not very satisfying, although, I am going through the whole learning jazz standards approach where sax is concerned. I'm really only doing that for technicality' sake. It's fun at the same time and I really enjoy playing sax. I'm a Colin Stetson fanboy I have to say.
Nothing wrong with dark! It's one of many facets to explore. Yes, a composer should be multi-dimensional and try to tackle as many angles as their imagination will allow.
Again, I think a good composer is one who won't be anticipated. What you're doing is important in relation to how your brain is designed. It will open you up more than you may think. But you know that already because of what you've written.
It has for me and it's been incredibly important for me in who I realize I am. Music helps to define oneself. Improvisation is limiting. Composition is through the roof! Embrace it!
It's not about proficiency Stephen. Most think so, but that's simply not true. It's what we can do with our level when it comes to traditional hardware. Software, on the other hand, allows us to not become restricted in any way whatsoever. We can actually stretch our imagination into areas we did not know existed. Traditional hardware can actually delay the inherent imagination in us all because of the laborius trek in trying to figure out how to play whatever we wish at will. Software cuts to the chase and so we can hone our creative intensity ten fold. I'm truly surprised at how some think, regarding how we must pay the price of labor in traditional hardware to become authentic. It's a ridiculous accessment. A composer must use whatever is possible, as in what's at their disposal to make their ideas come to life. Sure, composer's labor over their craft as far as density, sequence, harmony, etc. etc. etc. It's a labor that is void of the redundant rigmarole that tends to discourage many a musician.
Yeah...Colin Stetson...Now that's imagination!
Keep us posted man. I'm very interested in what you'll produce!
Again, I think a good composer is one who won't be anticipated. What you're doing is important in relation to how your brain is designed. It will open you up more than you may think. But you know that already because of what you've written.
It has for me and it's been incredibly important for me in who I realize I am. Music helps to define oneself. Improvisation is limiting. Composition is through the roof! Embrace it!
It's not about proficiency Stephen. Most think so, but that's simply not true. It's what we can do with our level when it comes to traditional hardware. Software, on the other hand, allows us to not become restricted in any way whatsoever. We can actually stretch our imagination into areas we did not know existed. Traditional hardware can actually delay the inherent imagination in us all because of the laborius trek in trying to figure out how to play whatever we wish at will. Software cuts to the chase and so we can hone our creative intensity ten fold. I'm truly surprised at how some think, regarding how we must pay the price of labor in traditional hardware to become authentic. It's a ridiculous accessment. A composer must use whatever is possible, as in what's at their disposal to make their ideas come to life. Sure, composer's labor over their craft as far as density, sequence, harmony, etc. etc. etc. It's a labor that is void of the redundant rigmarole that tends to discourage many a musician.
Yeah...Colin Stetson...Now that's imagination!
Keep us posted man. I'm very interested in what you'll produce!
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Nailing Jelly is very interesting. I prefer superglue. Traveller seems less interesting to me as a composition. Your tone (although highly modified) seems clear and unwavering with a quality consistent vibrato. You use the sax as one might use it in an orchestra. In all these compositions you put the live instrument (violin or sax) pretty far back in the mix rather than in the foreground. This seems a little ambiguous as though it's not the focus or subject but just another bit of the software sounds, which is OK, but then why bother with any instrument you need to physically play? You have already mastered the electronic side and seem to be tapping into that unlimited potential that Mike alludes to.
I liked what you played in nailing jelly but found the "huff" attack on your notes a little disturbing at times. Full marks for composition in all except traveller. Very slight intonation problems with the violin mostly flat but at times sharp. I know I'm being very picky for someone who really wants to encourage you to do more compositional work, but these are mostly technical issues that can be addressed. The guts and creativity of what you are doing is more than good, it's pretty amazing.
I liked what you played in nailing jelly but found the "huff" attack on your notes a little disturbing at times. Full marks for composition in all except traveller. Very slight intonation problems with the violin mostly flat but at times sharp. I know I'm being very picky for someone who really wants to encourage you to do more compositional work, but these are mostly technical issues that can be addressed. The guts and creativity of what you are doing is more than good, it's pretty amazing.
I'm immediately reminded of the Doors. Sorry about that. I'll be good.........
I think you've tapped right into the essence of the piece, as in the title. No dispute there.
Was that a toilet filling up after it's been flushed? Sometimes, it's perfectly fine to have a discursive entry.
This is a perfect vehicle for a saxophone laced lyrical type of setting. The interesting element is anything can be played against it.
The potential here is boundless. Unfortunately, it was extremely short. For something like this I wanted to hear more
because of the vamp which you wrote. You sort of pulled the carpet out from under me. Since you're bi-instrumental
you could add violin along with saxophone. Or have simulations of violin and sax relating to one another.
I'm hearing all sorts of things with this piece. Natrually, you may feel the traveler reached his destination and there's absolutely nothing wrong with that!
It's really wonderful!
I think you've tapped right into the essence of the piece, as in the title. No dispute there.
Was that a toilet filling up after it's been flushed? Sometimes, it's perfectly fine to have a discursive entry.
This is a perfect vehicle for a saxophone laced lyrical type of setting. The interesting element is anything can be played against it.
The potential here is boundless. Unfortunately, it was extremely short. For something like this I wanted to hear more
because of the vamp which you wrote. You sort of pulled the carpet out from under me. Since you're bi-instrumental
you could add violin along with saxophone. Or have simulations of violin and sax relating to one another.
I'm hearing all sorts of things with this piece. Natrually, you may feel the traveler reached his destination and there's absolutely nothing wrong with that!
It's really wonderful!
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Wade -
Thank you for listening. Traveller is a throwaway piece I had to do. I'll probably never do anything like that again. I don't know why I did such a poppy instrumental, but there it is.
Re the background mix thing; I guess I like to listen to things as integrated wholes. I don't like it particularly when one sound or another dominates without there being real purpose for it. That's not set in stone though and will probably change as things progress, and if the piece calls for it. I play because I like it :-]
Re the "huff" thing - hmm, yeah I wish I didn't do that. It annoys me occasionally, preferring a smooth attack myself also, I may have to be more attentive. Man, I really appreciate the criticisms, because it's how a person responds to what they're hearing. It can't all be "that's great" etc. I know when I'm listening to stuff I do the same. Besides your crits are balanced and intelligent, so they're very welcome, as is your encouragement. Thanks.
Y'know, I'm hoping to get enrolled in an art degree for next year, I have my folio interview in two weeks time. If I get in, then I hope I'll have the time to continue composing. I couldn't not do this stuff. Besides, I need to do some video work alongside my sounds.
Thank you for listening. Traveller is a throwaway piece I had to do. I'll probably never do anything like that again. I don't know why I did such a poppy instrumental, but there it is.
Re the background mix thing; I guess I like to listen to things as integrated wholes. I don't like it particularly when one sound or another dominates without there being real purpose for it. That's not set in stone though and will probably change as things progress, and if the piece calls for it. I play because I like it :-]
Re the "huff" thing - hmm, yeah I wish I didn't do that. It annoys me occasionally, preferring a smooth attack myself also, I may have to be more attentive. Man, I really appreciate the criticisms, because it's how a person responds to what they're hearing. It can't all be "that's great" etc. I know when I'm listening to stuff I do the same. Besides your crits are balanced and intelligent, so they're very welcome, as is your encouragement. Thanks.
Y'know, I'm hoping to get enrolled in an art degree for next year, I have my folio interview in two weeks time. If I get in, then I hope I'll have the time to continue composing. I couldn't not do this stuff. Besides, I need to do some video work alongside my sounds.
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