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New composition work

2630 Views 21 Replies 6 Participants Last post by  Mike1955
I have a new recording at soundcloud (my only recording actually)

It's my first finished composition

I play violin on this track

Lot to learn I think

Comments please - if any.
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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!
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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!
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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!
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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!
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Stephen, I will always support those who have an affinity for the less traversed path. Traditionality has all the support it needs and then some!
It's human nature and expected to attach oneself to traditional values which is exoteric and to repel the non-traditional which is esoteric. The few replies our type of work gets are wonderful in itself which are from a select circle of kind individuals. So, in essence we do pretty good considering the content we display.

I might add, the hits are a good indication that people are naturally curious. Some are not the replying type and in those silent hits are some who may enjoy it as well. Pragmatically speaking we're obscure. Basking in obscurity is exactly what I've done for years....I simply bask!

So what's a couple of black sheeps in the mix, huh?
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