Saul's Music Space

[Luke]

Not quite sure what you are trying to do with these little things, Saul...but anyway, I listened to this one (I see you've abandoned the notation this time, that's probably wise). Well, I listened to some of it anyway, it got a little tedious. But it's not atonal, again, Saul! Not sure what it is, exactly, but it's not atonal. You can't get your fingers out of those often-repeated tonal patterns, it seems.

That's the funniest thing about these pieces of yours - the joke isn't what you think it is (that atonal music is rubbish and easy to write/fake), but that none of the pieces you've presented to us are actually atonal. You've failed to deliver the punchline. And the next level of the joke is that, actually, in a way you are right, it ought to be the easiest thing on earth to knock up a piece of 'atonal gibberish', if you are not bothered about the artistic result. A few clusters and so on would do the job quickly. Even the cat that jumped on the piano whilst I was accompanying a choir on Friday managed it. And yet still you come up with tonal stuff! In internet parlance, I believe this is called a Fail. But it is, in a completely different way to that which you intend, very funny, so thank you for cheering me up post England's dismal exit from the World Cup. That, plus the two Chopin Nocturnes I played whilst the last minutes dragged on, seem to have pulled me through....

[Luke]

I find it interesting, btw, that you claim to have improvised this piece, and therefore give us no score this time. Previously you claimed to have carefully composed the previous two, for which you gave scores, and to have gone over their notation in detail, not let the computer handle it as I was surmising from all the typical horrible computer-style mistakes I pointed out. I wonder, in the light of this new improvised no-score approach, if I really believe that.   

[Saul]

Lucky Luke,

I had to so something innovative what you will call to grab you guys to comment on my music. I had the most fun, and I didn't mean much of what I said. I love all good music, and I have nothing against Rachmaninov or anyone else. In fact I adore some of Rach's preludes.
I wanted to push the limits and see what you will guys will say about these things, and you guys held on tight, kudos for you all, Aside the personal insults and the uncalled for baggage, well its all understandable, no hard feelings.

As to my real feelings about modern music, I don't have anything against it, I just don't like it very much. I really love the Classics, Bach Mozart Mendelssohn, Beethoven, and Chopin, and somewhat disappointed from the fact that many talented composers spend their time creating atonal modern stuff, when they could be writing monumental works, and the fact that we don't have any real genius modern classical composer on the level of the greats. This is somewhat annoying.

What I want to do next, is to create some kind of a composer' challenge where we ask all the composers here to compose a work in Baroque, Classical and Modern, and we then all vote for the best composition.

Cheers,

Saul

[Saul]

I find it interesting, btw, that you claim to have improvised this piece, and therefore give us no score this time. Previously you claimed to have carefully composed the previous two, for which you gave scores, and to have gone over their notation in detail, not let the computer handle it as I was surmising from all the typical horrible computer-style mistakes I pointed out. I wonder, in the light of this new improvised no-score approach, if I really believe that.

I just wanted to create something spontaneous. I never said I wrote this particular piece, it was all fun.
I even said 'Instant composition' another words improvisation.

[Luke]

Lucky Luke,

I had to so something innovative what you will call 'Atonal Thinking' to grab your asses to comment on my music. I had the most fun, and I didn't mean much of what I said. I love all good music, and I have nothing against Rachmaninov or anyone else. In fact I adore some of Rach's preludes.
I wanted to push the limits and see what you will guys will say about these things, and you guys held on tight, kudos for you all, Aside the personal insults and the uncalled for baggage, well its all understandable, no hard feelings.

.....riiiiiiiiiight. I see.... So it was all a big joke, to try to push us....yeah. BTW you shouldn't be surprised we 'held on tight', Saul, you're talking about music we love, passionately. We need no kudos. But, you see, I'm afraid I find it hard to believe that all of this, the last few days, has been a joke. Seems to me like you are altering your position because you're bored of it, or because you've realised that we actually know what we are talking about, or because you've realised that there are in fact flaws in your music, or whatever....

As to my real feelings about modern music, I don't have anything against it, I just don't like it very much. I really love the Classics, Bach Mozart Mendelssohn, Beethoven, and Chopin, and somewhat disappointed from the fact that many talented composers spend their time creating atonal modern stuff, when they could be writing monumental works, and the fact that we don't have any real genius modern classical composer on the level of the greats. This is somewhat annoying.

see, the thing is, as I just said, you have made it impossible to believe anything you say any more. If only this were true, it would be the most sensible statement you've made for many days. But sadly I can't believe that you really think this. You protested too much.

What I want to do next, is to create some kind of a composer' challenge where we ask all the composers here to compose a work in Baroque, Classical and Modern, and we then all vote for the best composition.

I wonder if you'll have takers.

[Guido]

Not quite sure what you are trying to do with these little things, Saul...but anyway, I listened to this one (I see you've abandoned the notation this time, that's probably wise). Well, I listened to some of it anyway, it got a little tedious. But it's not atonal, again, Saul! Not sure what it is, exactly, but it's not atonal. You can't get your fingers out of those often-repeated tonal patterns, it seems.

That's the funniest thing about these pieces of yours - the joke isn't what you think it is (that atonal music is rubbish and easy to write/fake), but that none of the pieces you've presented to us are actually atonal. You've failed to deliver the punchline. And the next level of the joke is that, actually, in a way you are right, it ought to be the easiest thing on earth to knock up a piece of 'atonal gibberish', if you are not bothered about the artistic result. A few clusters and so on would do the job quickly. Even the cat that jumped on the piano whilst I was accompanying a choir on Friday managed it. And yet still you come up with tonal stuff! In internet parlance, I believe this is called a Fail. But it is, in a completely different way to that which you intend, very funny, so thank you for cheering me up post England's dismal exit from the World Cup. That, plus the two Chopin Nocturnes I played whilst the last minutes dragged on, seem to have pulled me through....

A magnificent win by Germany I think you mean.  btw I infinitely prefer this improvisation to anything I have ever heard Saul compose before - some of it's actually quite pretty! Again though not atonal as you say.

[Saul]

.....riiiiiiiiiight. I see.... So it was all a big joke, to try to push us....yeah. BTW you shouldn't be surprised we 'held on tight', Saul, you're talking about music we love, passionately. We need no kudos. But, you see, I'm afraid I find it hard to believe that all of this, the last few days, has been a joke. Seems to me like you are altering your position because you're bored of it, or because you've realised that we actually know what we are talking about, or because you've realised that there are in fact flaws in your music, or whatever....

see, the thing is, as I just said, you have made it impossible to believe anything you say any more. If only this were true, it would be the most sensible statement you've made for many days. But sadly I can't believe that you really think this. You protested too much.

I wonder if you'll have takers.

Cheers,

Saul

In order to play a bluff you must  make it real, I'm an artist after all lol.

Anyways, some of the more modern stuff are some my favorite compositions.

Such as Rimsky's flight of the bumble bee, and Moszkowski Etincelles and  Bax The Happy Forest, so there is no way that I totally reject everything within Modern music. I dislike the radical atonal Schonberg and Webern this is absolutely true. I can never connect with it, because their music is the most radical atonal music ever written, but I have not heat against those who like them, if that's their cup of tea.

[Saul]

To all the composers in this site. I wanted to create a composition challenge for anyone that is interested to contribute.
The first challenge :

Compose a short piano piece not more then 2 minutes at any tempi in the Baroque style.
After the presentation here of all the compositions, there will be a poll and everyone will be able to vote for their favorite composition.

Cheers,

Off to work!

[Luke]

In order to play a bluff you must  make it real, I'm an artist after all lol.

lol indeed

Anyways, some of the more modern stuff are some my favorite compositions.

Such as Rimsky's flight of the bumble bee, and Moszkowski Etincelles and  Bax The Happy Forest, so there is no way that I totally reject everything within Modern music.

I find it hard to slot any of these into the category 'modern', I have to say....

I dislike the radical atonal Schonberg and Webern this is absolutely true. I can never connect with it, because their music is the most radical atonal music ever written, but I have not heat against those who like them, if that's their cup of tea.

which, as I said, if it is true, is the most sensible thing you've written for days. Except not tea, please, I don't like tea, that's where Karl and I do not see eye to eye. That could easily become a much more heated issue than anything discussed in recent days here, I imagine... 

[Luke]

To all the composers in this site. I wanted to create a composition challenge for anyone that is interested to contribute.
The first challenge :

Compose a short piano piece not more then 2 minutes at any tempi in the Baroque style.
After the presentation here of all the compositions, there will be a poll and everyone will be able to vote for their favorite composition.

Cheers,

Off to work!

Shouldn't you put this on the Composing/performing board, Saul?

I'll be interested to see if anyone takes up this challenge. Call me a spoilsport but I won't - I have enough to do trying to fit in the pieces I am actually desperate to write as it stands!

[Opus106]

Please make it a "blind" poll, if this idea takes off.

[Mirror Image]

Music is NOT a competition, Saul. To quote Bartok: "Competitions are for horses, not artists."

If you don't understand this, then you're not a composer of any merit.

[Saul]

Music is NOT a competition, Saul. To quote Bartok: "Competitions are for horses, not artists."

If you don't understand this, then you're not a composer of any merit.

Concerto = A concerto (from the Italian: concerto, plural concerti or, often, the anglicised form concertos) as a musical work is a composition usually in three parts or movements, in which (usually) one solo instrument (for instance, a piano or violin) is accompanied by an orchestra. The etymology is uncertain, but the word seems to have origin from the conjunction of the two Latin words conserere (meaning to tie, to join, to weave) and certamen (Competition, fight): the idea is that the two parts in a concert, the soloist and the orchestra, alternate episodes of opposition and cooperation in the creation of the music flow.

[Saul]

Shouldn't you put this on the Composing/performing board, Saul?

I'll be interested to see if anyone takes up this challenge. Call me a spoilsport but I won't - I have enough to do trying to fit in the pieces I am actually desperate to write as it stands!

Why?

We are going to discuss the composers and their music afterwards.

[Luke]

Why?

Earning money, looking after my children, that sort of thing. I have a long, long list of pieces I actively want to write (and about 5 pieces on the go at the moment, in fact) and I have trouble finding the time to do them! And I tend only to write pieces that I want really want to write, anyway - it's the way I like to compose. If I get the urge to write a Baroque style piece, you can be sure I'll post it here...

[Mirror Image]

Concerto = A concerto (from the Italian: concerto, plural concerti or, often, the anglicised form concertos) as a musical work is a composition usually in three parts or movements, in which (usually) one solo instrument (for instance, a piano or violin) is accompanied by an orchestra. The etymology is uncertain, but the word seems to have origin from the conjunction of the two Latin words conserere (meaning to tie, to join, to weave) and certamen (Competition, fight): the idea is that the two parts in a concert, the soloist and the orchestra, alternate episodes of opposition and cooperation in the creation of the music flow.

Again, you're totally ignoring what I'm telling you and you continue time and time again to act like a complete jerk. But what else is new right?

[Saul]

Again, you're totally ignoring what I'm telling you and you continue time and time again to act like a complete jerk. But what else is new right?

Apparently, you have never heard in your entire life the concept of composition competitions.

[springrite]

The winner gets a pack of Marlboro.

[Saul]

The winner gets a pack of Marlboro.

How about a vacation to the Bahamas?

[Mirror Image]

Apparently, you have never heard in your entire life the concept of composition competitions.

Apparently, you never, in your entire life, have heard the concept that music IS NOT a competition. When you learn this concept, you will have a new appreciation for music.