Analyze This!: snyprrr's Composition Page

[snyprrr]

I think we were all giving you a little while longer, waiting for the opening sequence...

Haha!! Oy, I'm such a drama junkie. Yes, I need to take a walk in the woods and eat some food!

Oh, you are good!

..."just apply oxygen"...

[snyprrr]

ok, here goes:


                                                                      TEKh
                                                                                    for guitar
                                                                          (OPENING 14 CHORDS)


First, there is a slightly tricky opening. Set tempo at 1/4note= 148. Time signature for the first three measures is 3/4, then 4/4 through to the end of the example.

Attack is pretty consistently Sfz, but, you'll see that each chord needs its own personal examination. Generally, play each chord as loud as possible to make all the notes come out equally well. I'm putting an 'accent' over every single chord in this whole example.

START:

First, there is one measure of silence, then a second measure with a 1/2note rest and an 1/8note rest followed by the up-beat:

X
X
X
0
0
3

into one measure of

X
X
1
0
0 (held over)
3 (held over)


Now, rit. the next chord. All chords from here on out are made up of 1/1notes (whole notes): (Time sig. is now 4/4 for the rest of this example)

X
play the natural harmonic 'D#' right before the 4th fret
play the natural harmonic 'B' right before the 4th fret
1
0
2


Now the tempo is rit. to 1/4note = 118 for the rest of the example, playing each chord as a steady whole note:

play natural harmonic 'E' on the 5th fret
X
play natural harmonic 'D' right after the 3rd fret
0
1
0

and then:

X
play the natural harmonic 'D#' right before the 4th fret
1
1
0
0

and then:

X
X
2
0
4
1

and then:

X
1
3
2
0
2

and then:

X
0
5
1
0
4

and then:

X (playing the natural harmonic 'G#' just before the 4th fret is optional)
1
3
0
4
0

and then:

X (playing the natural harmonic 'G#' just before the 4th fret is optional)
0
2
6
3
0

and then:

play the natural harmonic 'B' on the 7th fret
0
6
0
7
6

and then:

play the natural harmonic 'B' just after the 3rd fret (not playing it is optional)
0
5
0
4
5

and then:

X
0
3
0
8
7

and then:

X
0
3
3
6
0

and then:

X
X (playing the open 'B' is optional)
8
0
4
8

and then:

X
3
6
0
6
0

and that's all you get! I humbly await the judgment of God and man. I know it's ugly. Could it have been any other way?

ENJOY!

[Karl Henning]

Ah, ascii tablature!

[Cato]

ok, here goes:


                                                                      TEKh
                                                                                    for guitar
                                                                         
ENJOY!

At first glance I thought the title was a Klingon word! 

But then thought it also looks very Xenakisian! 

[snyprrr]

At first glance I thought the title was a Klingon word! 

But then thought it also looks very Xenakisian!

Yes it does!!

[snyprrr]

Ah, ascii tablature!

Is there another way?

[ibanezmonster]

Is there another way?

Guitar Pro is worth checking out...

I played through the chords, and yeah, nice chord progressions! 
They sure are creatively awkward.


the only one I didn't find possible:

play natural harmonic 'E' on the 5th fret
X
play natural harmonic 'D' right after the 3rd fret
0
1
0

doesn't seem possible to hit the high note without hitting anything on the B String



Playing through these, I don't think simply playing through them at loud whole notes is the best idea. I think that is a fine basis, but it'll really sound much better if you change up the dynamics a bit and maybe even stretch a few of those chords to be slightly longer than a whole note. You could have a pattern on the low E string that is somewhat between trem picking and a galloping rhythm, played pp. Not very big changes, but this is what I did when playing through these and it sounds great.

[snyprrr]

Guitar Pro is worth checking out...

I played through the chords, and yeah, nice chord progressions! 
They sure are creatively awkward.


the only one I didn't find possible:doesn't seem possible to hit the high note without hitting anything on the B String



Playing through these, I don't think simply playing through them at loud whole notes is the best idea. I think that is a fine basis, but it'll really sound much better if you change up the dynamics a bit and maybe even stretch a few of those chords to be slightly longer than a whole note. You could have a pattern on the low E string that is somewhat between trem picking and a galloping rhythm, played pp. Not very big changes, but this is what I did when playing through these and it sounds great.

Great!

Yea, that one chord I just added that top note to see if anyone could do it. Check!


I think the dynamics are obvious to each chord,... you probably played it the way I really meant,... just as long as each chord's 'integrity' comes through,... and yes, I will have to check the 'stretching', I think you're right here too.

I'm not quite sure what you mean with the bass trembling. You mean, hitting the chord, and then 'rumbling' the bass notes tremolo fashion (arpeggio) like a low thunder?

Frankly, you're right that these are really just 'building blocks'. I would almost just keep it the way it is and then let the performer work through the fine points (like you did), but, then, I might get results I hadn't really intended (but, if they're good ideas, they're good ideas).


This sequence is only about 1/4 or 1/5 of the entire opening section. If you've enjoyed these chords, then I'm encouraged that you will find the rest equally interesting. Cool! Great!

[North Star]

I agree with everything in Greg's post.
Trem picking = tremolo picking

[Karl Henning]

Is there another way?

Well, for us non-guitarist composers (e.g.) it is unintelligible.

Not that I've known that ever to stop you before ; )

[ibanezmonster]

I think the dynamics are obvious to each chord,... you probably played it the way I really meant,... just as long as each chord's 'integrity' comes through,...

I'm not quite sure what you mean with the bass trembling. You mean, hitting the chord, and then 'rumbling' the bass notes tremolo fashion (arpeggio) like a low thunder?

Hmmm... well, I'm playing it slightly different each time. If you had Guitar Pro (you know, you can just download it  ), it would be easy to show you what I'm talking about.

Playing it through now, I'm playing most of the chords quietly, and only a few loudly. But I'm not sure how well that would connect to the next section. I'm messing around with that low note idea, and I have a new one that involves something interesting:

1. Strike chord, holding LH in position the entire duration, until next chord is played. Let ring for a 1 quarter + 1 eighth note, then...
FILL: 2. Use this rhythm for the fill: 3 triplet sixteenth notes + 1 eighth note (a galloping rhythm). Use pianissimo dynamics.
3. Play fill like this: artificial harmonics created by picking the note near the bridge, touching the string slightly with your thumb. Play a rhythmic figure described in Step 2. Then, repeat that, but this time go up slightly higher along the length of the string. Repeat again and again as desired. The effect is that you'll hear the harmonic series, but it'll be different each time if the note on the low E string is different. It might be A# harmonic series, G harmonic series, etc., whatever... Maybe I'm naturally interpreting this as a spectral style.   

So I think your chords would be held out for a few bars in this case (when these types of fills are done).

My idea/interpretation, at least.

[Karl Henning]

Seems you have some compositional decisions yet to make, snypsss. Finding materials you like, is a fine (even important) step. But: there's more thrilllls yet to come! : )

[snyprrr]

Seems you have some compositional decisions yet to make, snypsss. Finding materials you like, is a fine (even important) step. But: there's more thrilllls yet to come! : )

Yes, I'm definitely learning that once you have the 'blocks', they still need 'clothes',... aye, every consideration has its own consideration!

This mere act of putting up chords and getting reaction has really just given me a zoom zoom zoom,... if I was languishing before, I am now reenergized. I am yet tantalizingly close to finishing the entire 'Part A' (out of two parts), but, as you note, there is still the dotting of the 'i's and crossing of the 't's. Still, just having the undergirding is enough for me right now.

The way Greg's been going at it, I should maybe just leave some decisions to the individual performer? Buuut,... that could lead to unintended consequences?,...

Karl, I'm sorry you can't read the chords (if you have a guitar, just read the fret numbers from top to bottom, top being high string, bottom being low string,... surely you have a guitar teacher in your school (uh, I AM assuming you teach at a school,... sorry if I have been assuming this if you're not,... but,... you must?!?!)). I was really wanting your feedback also. I will no doubt send you the music when completed, and yes, I AM writing this out traditionally,... ugh, boy do I need one of those 'play it into the mic and paper comes out the other end' do-hickeys!! But, making me write it out makes pretty sure that I'm getting what I think I am. My conductor friend has had enough of my rhythmic tapping questions, haha!!


Greg, it's still early (caffeine) and I'm still trying to get through the 'trem picking' idea. I did have the one thought, that, after I hit a chord, I can gently 'touch' the low 'E' string with my finger to get that 'nnnyyywwwwwrrrrr' sound (you know, when you really snap the low string and then 'dampen' it with your finger and it makes that 'whirring' sound?,... has to be done very carefully).

Greg, your natural interest is very uplifting to me. Thanks!


btw- my indigestion and queasy tummy flip flops have exponentially increased since I 'revealed' by 'baby bump', haha!! BRING ON THE PICKLES AND CHOCOLATE!!


I HAVE TWO MORE (sorry) small links to link up before I go through the entire Part A with a fine tooth comb. Sex would help.

[snyprrr]

Seems you have some compositional decisions yet to make, snypsss. Finding materials you like, is a fine (even important) step. But: there's more thrilllls yet to come! : )

A struggle, more or less unconscious,
between the creator and the interpreter
is almost inevitable. The interest of a
performer is almost certain to be
centered in himself.

TS Eliot, The Sacred Wood

(from 'The Compleat Conductor' by G. Schuller)

[petrarch]

Yes, I'm definitely learning that once you have the 'blocks', they still need 'clothes',... aye, every consideration has its own consideration!

Indeed, it is all part of the creative process--in my experience, it is a positive feedback loop that leads you further into the nature of the work and very often quite far from where you originally imagined it would be.

The way Greg's been going at it, I should maybe just leave some decisions to the individual performer? Buuut,... that could lead to unintended consequences?,...

That is a decision that only you can make--if you frame it like it "could possibly lead to unintended consequences", then it suggests this is not the right time to do that.

Karl, I'm sorry you can't read the chords (if you have a guitar, just read the fret numbers from top to bottom, top being high string, bottom being low string,...

I can't read guitar tablature though I am sure with a little bit of effort I could get there, but if you want to widen the discussion to as broad an audience as possible, you should use standard staff notation. An actual recording or MIDI rendition would also go a long way.

[North Star]

Guitar Pro is nice because it creates both tablature and standard notation.
And Karl, as a Berlioz fan, you should know how to play the guitar 

Open strings from high to low, and the number tells how many semitones to add.

e
B
G
D
A
E

[Karl Henning]

... I can't read guitar tablature though I am sure with a little bit of effort I could get there, but if you want to widen the discussion to as broad an audience as possible, you should use standard staff notation. An actual recording or MIDI rendition would also go a long way.

Aye; I can decode the tablature, but that is just enough like work that I prefer to continue the labor of my own composition : )

[ibanezmonster]

I did have the one thought, that, after I hit a chord, I can gently 'touch' the low 'E' string with my finger to get that 'nnnyyywwwwwrrrrr' sound (you know, when you really snap the low string and then 'dampen' it with your finger and it makes that 'whirring' sound?,... has to be done very carefully).

Yep, touch harmonics... since they're so quiet, though, for an acoustic I've found that only the low E touch harmonics are consistently practical.

[snyprrr]

Aye; I can decode the tablature, but that is just enough like work that I prefer to continue the labor of my own composition : )

Haha!, yup!! Trust me, this piece is so much like work, I'D rather work on your piece!

[snyprrr]

Yep, touch harmonics... since they're so quiet, though, for an acoustic I've found that only the low E touch harmonics are consistently practical.

Thanks for all your interest. It appears we're thinking along similar lines: perhaps the piece is 'obvious' in what 'it' wants? I like the 'sound' of inevitability!


Ugh, I'm sick. Woke up with something. How inconvenient! How many have Composed on the can?!?! Karl?