Author Topic: Greg's Gazebo  (Read 66510 times)

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greg

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Greg's Gazebo
« on: August 30, 2007, 10:11:10 AM »
11/24/2012:

op.1 Piano Sonata 1                               mp3 pdf
op.2 String Quartet                                mp3 pdf
op.3 Ubloobideega                                 mp3 pdf
op.4 Blather Lather                                mp3 pdf
op.5 The Bend of Time                            mp3 pdf
op.6 We'll C                                            mp3 pdf
op.7 Under Lucid Skies                           mp3 pdf
op.8 Prokofiev's op.88                            mp3 pdf
op.9 Phantom Travels                             mp3 pdf
op.10 Piano Sonata 2 (in progress)


Entire collection (zip package)


-PDFs now uploaded, mp3s now using Sibelius Sound Essentials. Added complete zip folder.
-For now, these are download links. Eventually, I'll have my own site hosted (my entire site is already done, but not hosted yet) with direct links that will open up the mp3 files as a page (listenable online) and pdfs in Adobe Reader within the web browser.
-Scores and mp3s aren't perfect (too large of a master volume difference between op.5 and 7, for example), but good enough, I think.
-Year written added to first music page of scores.
-Changed title of op.3. In honor of our mighty emperor.
-Changed minor details of op.1 second movement
-op.9 is the most glitch-free yet- just one glitch: bassoon has a note cut off at 3'43". These glitches are ridiculous, and I have to listen to the whole thing (14 minutes) to find them. Maybe one day the piece will be glitch-free.
-Eventually will make the scores a bit more consistent in design.
« Last Edit: November 23, 2012, 09:27:19 PM by Greg »

Offline BachQ

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Re: op.11 Night
« Reply #1 on: August 30, 2007, 10:12:40 AM »
it's for string orchestra,

Why not add a little oboe and french horn?

Larry Rinkel

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Re: op.11 Night
« Reply #2 on: August 30, 2007, 10:28:49 AM »
Why not add a little oboe and french horn?

Because it's for string orchestra, D.

greg

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Re: op.11 Night
« Reply #3 on: August 30, 2007, 10:29:23 AM »
Why not add a little oboe and french horn?
that would be a strange combination over a string orchestra  :o
we'll see, if i do add anything, it'll probably just be something percussion-related

ok, off to "work"  8)

karlhenning

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Re: op.11 Night
« Reply #4 on: August 30, 2007, 10:32:42 AM »
Work well, Greg!

Offline BachQ

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Re: op.11 Night
« Reply #5 on: August 30, 2007, 10:44:50 AM »
that would be a strange combination over a string orchestra  :o

precisely

Mark G. Simon

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Re: op.11 Night
« Reply #6 on: August 30, 2007, 11:24:45 AM »
Somehow, the title of this thread led me to believe it would be a discussion of a certain Schoenberg piano piece.

Larry Rinkel

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Re: op.11 Night
« Reply #7 on: August 30, 2007, 12:02:40 PM »
Somehow, the title of this thread led me to believe it would be a discussion of a certain Schoenberg piano piece.

Had it been Op. 4, the pun would have been even wittier, though perhaps missing in transfiguration.

Offline Cato

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Re: op.11 Night
« Reply #8 on: September 03, 2007, 04:12:50 AM »
Somehow, the title of this thread led me to believe it would be a discussion of a certain Schoenberg piano piece.

Dude!!!  That was precisely why I clicked on it!!!   

Were we both instinctively thinking of the Three Piano Pieces because of the "Opus 11" title?

In any case, perhaps Schoenberg's spirit hovers over Mr. Greg as he conjures forth another effort!

And an oboe or French horn with a string orchestra would be an excellent way to create a Kammerkonzert a la Hindemith.

I would go with an English horn actually!  Or a an alto or even a bass flute!
"Meet Miss Ruth Sherwood, from Columbus, Ohio, the Middle of the Universe!"

- Brian Aherne introducing Rosalind Russell in  My Sister Eileen (1942)

Mark G. Simon

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Re: op.11 Night
« Reply #9 on: September 03, 2007, 04:53:52 AM »
Dude!!!  That was precisely why I clicked on it!!!   

Were we both instinctively thinking of the Three Piano Pieces because of the "Opus 11" title?

Somehow one doesn't expect Beethoven's Trio for clarinet, cello and piano or Schumann's 1st piano sonata in F# minor to be thread-starters.

Hindemith's op. 11 has that cool solo viola sonata with quarter = 600 tempo marking. Always fun to talk about.

Anyway, Greg, here's your thread back. Enjoy your string orchestra. Maybe you can write a "Threnody for the vicitims of Abu Graib" or something.

greg

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Re: op.11 Night
« Reply #10 on: September 03, 2007, 07:37:25 AM »

Hindemith's op. 11 has that cool solo viola sonata with quarter = 600 tempo marking. Always fun to talk about.

wow, i've never heard of that, that's insane!  :o
so.... i was about to update this thread anyways with a few thoughts
the first is, i would estimate it to be done by December. Just a wild guess

the second is, i've decided it might be best to write the whole thing on 2 staves, as if it were a piano piece. I think one of the reasons why i wrote a couple of "attempts" with 4 stave orchestral/string whatever stuff and then abandoned it is because it's just too hard to look at 4 staves and play 2 with two hands! So i guess i'll just keep it to 2 staves as much as humanly possibly and then, if i need a third i'll use it.

the third is, i'm going to make sure this one is really good. I've had to go back and erase and change a lot, so i haven't made much progress. It might take awhile, while after lots of erasing and working with an idea and then realizing it's not really that great and i can do better, it turns out that my next one is usually better  ;D

greg

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Re: op.11 Night
« Reply #11 on: September 03, 2007, 07:39:26 AM »
i think Saul wrote an orchestral work once called Night.......
to be honest, i kinda liked it, even though usually his piano Etudes sound like exercises copied from an exercise book he manages to sound better with an orchestra, which is more complex lol

Mark G. Simon

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Re: op.11 Night
« Reply #12 on: September 03, 2007, 08:32:03 AM »
the third is, i'm going to make sure this one is really good. I've had to go back and erase and change a lot, so i haven't made much progress. It might take awhile, while after lots of erasing and working with an idea and then realizing it's not really that great and i can do better, it turns out that my next one is usually better  ;D

Cage reported that Schoenberg once pointed to the eraser end of a pencil and said "this end is more important than the other".

greg

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Re: op.11 Night
« Reply #13 on: September 04, 2007, 04:51:02 AM »
Cage reported that Schoenberg once pointed to the eraser end of a pencil and said "this end is more important than the other".
lol! i'll remember that quote, Schoenberg was a smart man.

yesterday, i just used it to erase every single bar except the first. Sure, you can come up with something that sounds good at one moment, but when you play it again, it just doesn't make sense.
I wrote 9 bars where the violins start it out and here's how it goes when i play through:
bar 1- fine
bar 2- doesn't make sense to write this at this moment, although it sounded good at first
bar 3- (a single note) totally banal-sounding
bar 4 to 7- the octave leap is actually nice, but then it goes into notes that are just questionable
bar 8 to 9- i would like it if it were in a completely different context, it resolves in E major and the resolution itself doesn't feel like it makes any sense

i know for sure that it's because while writing this opening line i've come to stops and then tried to figure out what to do next- that's the whole problem, the best stuff, or at least the majority of what you write just comes to you, and you try to transcribe what you hear. Probably the best time of all to compose would be in the middle of the night, waking up at maybe 3, when you can't think straight and your consciousness is really impaired. The best, clearest dreams are usually at 4, i really wonder if there is some sort of relation?...... (in fact, when i was reading about lucid dreaming, you had to wake up at around 4, stay up a little bit and go back to sleep).
i could go on, i just remember a few things, but nah, i'll be rambling like an old man...

Offline Cato

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Re: op.11 Night
« Reply #14 on: September 04, 2007, 08:46:55 AM »
lol! i'll remember that quote, Schoenberg was a smart man.

yesterday, i just used it to erase every single bar except the first. Sure, you can come up with something that sounds good at one moment, but when you play it again, it just doesn't make sense.
I wrote 9 bars where the violins start it out and here's how it goes when i play through:
bar 1- fine
bar 2- doesn't make sense to write this at this moment, although it sounded good at first
bar 3- (a single note) totally banal-sounding
bar 4 to 7- the octave leap is actually nice, but then it goes into notes that are just questionable
bar 8 to 9- i would like it if it were in a completely different context, it resolves in E major and the resolution itself doesn't feel like it makes any sense

i know for sure that it's because while writing this opening line i've come to stops and then tried to figure out what to do next- that's the whole problem, the best stuff, or at least the majority of what you write just comes to you, and you try to transcribe what you hear. Probably the best time of all to compose would be in the middle of the night, waking up at maybe 3, when you can't think straight and your consciousness is really impaired. The best, clearest dreams are usually at 4, i really wonder if there is some sort of relation?...... (in fact, when i was reading about lucid dreaming, you had to wake up at around 4, stay up a little bit and go back to sleep).
i could go on, i just remember a few things, but nah, i'll be rambling like an old man...

I should send you off to read Thomas Mann's Doctor Faustus, wherein the devil (a possibly syphilitic hallucination) tells the crypto-Schoenbergian composer Adrian Leverkuehn that composing has become "devilishly hard" these days, that right when you think have something decently original, you conclude that it sounds too much like Rimsky-Korsakov, or somebody else, and you begin to despair of ever forging anything new and worthwhile.

Despair is the devil's key to your soul!    >:D

Which is why all real Americans are always optimistic!    0:)
"Meet Miss Ruth Sherwood, from Columbus, Ohio, the Middle of the Universe!"

- Brian Aherne introducing Rosalind Russell in  My Sister Eileen (1942)

greg

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Re: op.11 Night
« Reply #15 on: September 04, 2007, 09:58:17 AM »
I should send you off to read Thomas Mann's Doctor Faustus, wherein the devil (a possibly syphilitic hallucination) tells the crypto-Schoenbergian composer Adrian Leverkuehn that composing has become "devilishly hard" these days, that right when you think have something decently original, you conclude that it sounds too much like Rimsky-Korsakov, or somebody else, and you begin to despair of ever forging anything new and worthwhile.

Despair is the devil's key to your soul!    >:D

Which is why all real Americans are always optimistic!    0:)
i looked that book up:
http://en.wikipedia.org/wiki/Doktor_Faustus

that sounds like a fun book!  :D Next time i go to the library, i'll see if they have it.

Quote
Acknowledgement to Arnold Schönberg
In the novel (Chapter XXII) Leverkühn develops the twelve-tone technique or row system, which was actually invented by Arnold Schoenberg. Schönberg lived near Mann in Los Angeles as the novel was being written. He was very annoyed by this appropriation (without consent)), and later editions of the novel included an Author's Note at the end acknowledging that the technique was Schönberg's intellectual property, and that passages of the book dealing with musical theory are indebted in many details to Schönberg's Harmonielehre.
that's cool  8)

but yeah, that's just how it seems these days, i haven't written anything in almost a year, but i've had an idea every once few months, except i'd write something down and then erase it!  :o
the two main problems are: 1) i'm starting to compose at the piano instead of the guitar 2) using 4 staves instead of 2 when i attempt something orchestral

i've solved #2, deciding from now on to stick to two staves (it can be done, although a lot of information might be left out in some sections, and i have to do stuff like never write octaves, whatever to save space). The solution to #1 is to just learn how to play the piano much better; i've been playing through Prokofiev's sonatas and have gotten a lot better since a long time ago, though still i can play very little at full speed. And playing his stuff is fuuuuuuuuuuun!!!!  ;D ;D ;D

so, i might just practice the piano for a few months and pick up where i left off (bar 2 lol)

Offline BachQ

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Re: op.11 Night
« Reply #16 on: September 04, 2007, 11:22:20 AM »
Greg, don't you have your own gazebo for posting your compositions?  Where is it?

greg

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Re: op.11 Night
« Reply #17 on: September 04, 2007, 11:55:20 AM »
Greg, don't you have your own gazebo for posting your compositions?  Where is it?
not since the forum changed to this place

here, i'm going to upload all of my music to the very first post of this thread, i just figured out how to make a zip file, just gimme a few minutes and it should be up

greg

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Re: op.11 Night
« Reply #18 on: September 04, 2007, 11:58:07 AM »
oh wait, never mind... i'll do it tomorrow, looks like there's more to it than i thought

Offline BachQ

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In re: Greg's Gazebo
« Reply #19 on: September 04, 2007, 11:58:24 AM »
Greg, change the name of this thread to "Greg's Gazebo".

You started the thread, so you have the power.

Make it so.

Everything is going to be OK.