Author Topic: Crudblud's Craptacular C(r)ompositions  (Read 5024 times)

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Online k a rl h e nn i ng

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #80 on: August 18, 2017, 09:22:17 AM »
Good to see you at work!

Will check this out a little later . . . .
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
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His only competition was with himself. — Françoise Gilot

Offline Crudblud

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #81 on: August 28, 2017, 08:42:39 AM »
Just about completed a rough draft of what I think will be one of a "book" or "cycle" of short to medium length ensemble pieces. I'm not really sure yet.

millionrainbows

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #82 on: August 28, 2017, 01:33:54 PM »
Just to let you know, I have always gotten the Cazazza reference in your monicker. I remember a photo of him on Valentine's Day.

Offline Crudblud

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #83 on: August 28, 2017, 10:31:57 PM »
Just to let you know, I have always gotten the Cazazza reference in your monicker. I remember a photo of him on Valentine's Day.
A friend suggested it as a joke back in 2007. For whatever reason it stuck. I'm actually not that familiar with Monte Cazazza, but the connection amuses me nonetheless.

millionrainbows

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #84 on: August 29, 2017, 08:10:40 AM »
I notice that you are a fan of Zappa. How do you feel about rhythm? Do you like your music to be 'free' or within the grid of some rhythmic scheme? Most of it sounds very free rhythmically. I would think that in a computer environment, that adhering to some sort of rhythmic underpinning or grid would be always available for exploitation. What is your most 'rhythmic' work?

Offline Crudblud

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #85 on: August 29, 2017, 09:25:27 AM »
I notice that you are a fan of Zappa. How do you feel about rhythm? Do you like your music to be 'free' or within the grid of some rhythmic scheme? Most of it sounds very free rhythmically. I would think that in a computer environment, that adhering to some sort of rhythmic underpinning or grid would be always available for exploitation. What is your most 'rhythmic' work?

It's really on a case by case basis. When I start composing a piece, I am looking for a "seed" idea, something that can generate material and fuel development of that material sufficient to create something substantial. Composition is done with reference and deference to that seed, I am always seeking out what is appropriate to it. Some ideas produce floating gestures that seem to exist independently of any overall sense of meter, while others may give rise to metric schemes and encourage or demand adherence to them.

If I'm understanding what you mean by "rhythmic", I think Frozen Bob's Estranged Wife is what you're looking for. It is very dance-oriented, and meter is generally quite strictly observed, probably because I tend to think more in terms of a beat when I use percussion (but not always). You may find Problem Zero relevant for similar reasons. They function quite well as companion pieces.

Offline Crudblud

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #86 on: September 06, 2017, 07:59:36 AM »
Here's one I made earlier. It was originally going to be a movement of something bigger but I capped it off and let it sit on its own. There is something big(ger) coming in the next month or two which is related to both this and the previous doodle, at least in instrumentation. As for this 'un, I was so proud of it that I gave it a really unique and memorable title.

<a href="http://www.youtube.com/v/UE-Q18Pz_tQ" target="_blank" class="new_win">http://www.youtube.com/v/UE-Q18Pz_tQ</a>

Online Rons_talking

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #87 on: September 12, 2017, 06:47:27 PM »
I just listened to AEnglishman's Partyta and the work that follows (piano) on Bandcamp (I've never used it before), and the works are great! You have a strong sense of musical balance and micro-structure. The works are wild and intuitive. Keep on!

Offline Crudblud

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #88 on: September 12, 2017, 08:06:16 PM »
I just listened to AEnglishman's Partyta and the work that follows (piano) on Bandcamp (I've never used it before), and the works are great! You have a strong sense of musical balance and micro-structure. The works are wild and intuitive. Keep on!

Thank you, Ron! I'm currently struggling with the early stages of something big, and it is very hard going, your kind words are a real boost to my spirits.

Online k a rl h e nn i ng

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #89 on: October 02, 2017, 10:02:41 AM »
Very well done!

<a href="https://www.youtube.com/v/yrLLCAdE7M0" target="_blank" class="new_win">https://www.youtube.com/v/yrLLCAdE7M0</a>
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline Crudblud

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #90 on: October 02, 2017, 02:09:12 PM »
Thanks Karl! I actually forgot to post those "videos" here for some reason, but there's one of 'em at least. I think they're pretty good for what they are, but out of context of the grand scheme I had planned they're just pastiches. These were, as the descriptions on the videos indicate, to be "in universe" musics that would play when the player visited a specific city. Each city was going to have 15-20 minutes of unique music with instrumentation and style drawing on various European traditions, as well as a few cheeky riffs on specific composers. I got about halfway there, with four cities fully scored and a handful of pieces in various states of completion for the others. Too bad I guess, but life and music go on.

Offline Crudblud

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #91 on: November 08, 2017, 08:10:27 AM »
Hey everyone, the new thing is here. I was hoping to have it done by the end of October, but a week over ain't so bad. Hope y'all like it!

<a href="https://www.youtube.com/v/oyXw0NQV-qc" target="_blank" class="new_win">https://www.youtube.com/v/oyXw0NQV-qc</a>

P.S.: Downloads are coming, but following some awkwardness surrounding the continued hosting of archives at the usual location I am in the process of migrating the back catalogue to a new place. Stay tuned.

Online k a rl h e nn i ng

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #92 on: November 08, 2017, 08:11:38 AM »
Good to see fresh activity!  I'll give it a spin (← hipster antique-speak) this evening at home, and at my leisure.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline Le Moderniste

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #93 on: November 09, 2017, 12:51:06 AM »
I'm really impressed with Starlite Revue  :)

Offline Crudblud

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #94 on: November 10, 2017, 03:33:39 AM »
Hey gang, downloads are here now, so if ever you wanted to read the nonsensical notes that accompany these abominations, you can now do that! Again! (the old links are still up but I'm not in control of that server, so their continued functioning is not up to me)

I'm really impressed with Starlite Revue  :)
Thanks!

Good to see fresh activity!  I'll give it a spin (← hipster antique-speak) this evening at home, and at my leisure.
Thank you for the interest, I look forward to hearing your thoughts.

Offline Mahlerian

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #95 on: November 10, 2017, 09:44:36 AM »
Downloaded and listened to Starlight Revue today.  More fine work, good sir, and I'm impressed at how you were able to create such an extended composition, and one with frequent motivic returns and development, at that.  It was certainly too much to take in every detail in a single sitting, but your characteristically startling turns of direction and half-parodistic/half-serious tone is always fascinating.

Online k a rl h e nn i ng

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #96 on: November 10, 2017, 10:04:35 AM »
I need to set aside a listening hour to give the music its due;  I enjoyed the first 8 minutes unreservedly  8)
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline Crudblud

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #97 on: November 12, 2017, 04:28:33 PM »
Downloaded and listened to Starlight Revue today.  More fine work, good sir, and I'm impressed at how you were able to create such an extended composition, and one with frequent motivic returns and development, at that.  It was certainly too much to take in every detail in a single sitting, but your characteristically startling turns of direction and half-parodistic/half-serious tone is always fascinating.

I need to set aside a listening hour to give the music its due;  I enjoyed the first 8 minutes unreservedly  8)

Thank you both. I was holding off because I wanted to give a more detailed response (particularly to Mahlerian's comment on the motif stuff) but I couldn't really think of anything to say. Best to let the music speak for itself I guess?

Offline Crudblud

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #98 on: November 16, 2017, 07:20:09 AM »
Alright, apologies due. I was in my usual "post-completion depression" phase when I wrote that response, and I'm sorry to have been so shitty about it. Let's try that one again...

Downloaded and listened to Starlight Revue today.  More fine work, good sir, and I'm impressed at how you were able to create such an extended composition, and one with frequent motivic returns and development, at that.  It was certainly too much to take in every detail in a single sitting, but your characteristically startling turns of direction and half-parodistic/half-serious tone is always fascinating.

This was my first time working to a predetermined structure. I wanted to create something that would have more of a goal in mind, rather than simply "let's follow this and see where we end up". Of course, taking a path and seeing where I end up is kind of how it goes regardless of what preparations I might make, but having a "plot" this time around gave me a different perspective on the path I was taking, it was one I had at least partially mapped out before I began to walk. This map, rather than telling me the direction I would go in, more gave me a sense of terrain, and if I keep this metaphor going any longer I'll get annoyed with myself...

I wanted to take a bunch of instruments and split them up. After some farting around I settled on a septet of piano, harpsichord, bandoneon, French horn, English horn, marimba, and cello, and set about coming up with a scheme of breaking them up into smaller ensembles. In my notepad I eventually ended up with the following:

1. Full ensemble
2. Duo I: Marimba, cello
3. Piano
4. Trio I: Fr. horn, Eng. horn, cello
5. Quartet I: Harpsichord, bandoneon, Eng. horn, cello
6. Fr. horn
7. Duo II: Bandoneon, Eng. Horn
8. Harpsichord
9. Trio II: Piano, Fr. horn, marimba
10. Sextet: Piano, harpsichord, Fr. horn, Eng. horn, marimba, cello
11. Trio III: Piano, bandoneon, cello
12. Eng. horn
13. Duo III: Harpsichord, Fr. horn
14. Cello
15. Quartet II: Harpsichord, Eng. horn, marimba, cello
16. Trio IV: Piano, harpsichord, bandoneon
17. Marimba
18. Duo IV: Piano, marimba
19. Full ensemble

The first section came out around three and a half minutes, and it didn't take long for me to work out I was looking at at least 40 minutes total. I was somewhat apprehensive because I didn't know if this would ultimately lead me to stretch the piece longer to appease a burgeoning hubris, fortunately I don't think that happened. What occurred to me pretty early on, and it had largely happened naturally during the plotting process, was that the instruments appeared in cycles of sorts, each one would feature in a group of multiple contiguous sections and then disappear for several others before reappearing. I tried to adapt this also to the treatment of motifs that had emerged in the first section.

The first part of the piece (which I would think of as sections 1-9) almost denies the motifs, once the simple fifth pattern in the bass is shaken off by the piano solo, the use of established material becomes quite sparing and covert, but after the sextet its importance is reestablished, and the piece begins to move back, searching out the full ensemble. That was partly a response to seeing how far away the music seemed to be getting from its roots. In the sextet there is a big crescendo early on, beginning with a piano ostinato and layering the other instruments on top, and it struck me how far this had come away from the starting point. Not that this was a problem in itself, but with a symmetrical (in terms of size of ensembles) structure, the sextet being right in the middle, it seemed that this should perhaps be the most extreme distance, the apoapsis of the piece, which also fit the "cycle" idea nicely.

So from that point it starts to come back home, but I wasn't quite sure what to do when it arrived. The file I was working on was saved multiple times under different names, each version containing a different aborted finale. I wanted to go back to the beginning, but I didn't want to do it literally, as I had done in Problem Zero. If I could recapture the mood and the tone without restating the material in bulk, I could reach a conclusion. Eventually I came to the realisation that if the finale was to be a recapitulation, it should be a stifled one. I think of the finale as beginning with nostalgia for the first part, recalling its facile waltzes, trying to get back to the opening section, but ultimately having to move on somewhere else.

So that is what I wanted to talk about the first time in response to Mahlerian's post, but my brain just was not in gear. The more time I've spent with Mahler in my ear and Bach in my fingers (I like to play guitar transcriptions, particularly of the works for solo string instruments) the stronger, I think, my interest in motivic development and structure has become. In this piece it's those two composers in particular who have pushed me to strive for a greater sense of overarching unity and structural integrity, and I hope that is apparent when people listen to it. Of course, now I may have influenced people who come to the piece through this thread to hear it by writing this, but whatever.

Thank you again Mahlerian, I'm really glad the emphasis on motif came through for you, and that you enjoyed the piece.

P.S.: Here you can hear my first attempt at starting the piece. Originally the instrumentation included a lute, and used a violin instead of a cello. I had not yet worked out any kind of structure, and I don't think I had many or any ideas either. It's pretty easy to see why I abandoned this one.

Online k a rl h e nn i ng

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Re: Crudblud's Craptacular C(r)ompositions
« Reply #99 on: November 16, 2017, 07:53:51 AM »
I did not think that anything in your response requires an apology.

I'll apologize, a bit, though for not yet attending to Starlight Revue.  Woolly week at the office, Triad concerts this weekend, and my wife & I are getting ready to travel next week.

The good news being, that come Tuesday, I shall have ample capacity to give it its musical due!
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

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