My string quartet

[karlhenning]

Such harsh criticism of a fellow artist .......   

It's jolly good to rally around and assist the Corkster in his need to rustle up some attention, though, isn't it?

[Rod Corkin]

Don't even understand your own work, I see!    'On paper' he isn't right - we don't know the piece is in C major, so how can we know that the B is a leading note? This could be an atonal (or in this case, to speak accurately and technically, monotonous) piece, of course. Personally, however, I hear it in A minor, of course, and this supertonic B is forever resisting resolution downwards, implying eternity like the end of Das Lied von der Erde

I said he 'may' be right, leaving the opportunity for deep persons such as yourself to search for the 'truth'. But really on paper alone Op1 is meaningless, only on stage is its point made.

[Rod Corkin]

It's jolly good to rally around and assist the Corkster in his need to rustle up some attention, though, isn't it?

Talk about the Pot calling the Kettle black!

[Robert Dahm]

Such harsh criticism of a fellow artist .......   

I'm with Saul on this one.

The manner in which material returns and is recycled is utterly naïve. It's like extra length has been added to piece just by repeating bars ad nauseam. And then, something completely different, out of nowhere, which also undergoes absolutely no development or elaboation. I'm terribly sorry, but I'm afraid I'm going to have to lump this piece in the 'utter bollocks' box, along with basically everything by Phillip Glass...

[(poco) Sforzando]

I'm with Saul on this one.

The manner in which material returns and is recycled is utterly naïve. It's like extra length has been added to piece just by repeating bars ad nauseam. And then, something completely different, out of nowhere, which also undergoes absolutely no development or elaboation. I'm terribly sorry, but I'm afraid I'm going to have to lump this piece in the 'utter bollocks' box, along with basically everything by Phillip Glass...

But even more disturbing in this most literal piece of minimalism, where are the dynamic, phrasing, and tempo markings? Is this B to be played Adagio, Moderato or Presto, staccato and forte or pianissimo and dolce, pizzicato or arco, on the G or D or A string, muted or unmuted, up-bow or down-bow, with a slight crescendo-diminuendo or an even dynamic, with or without vibrato, etc., etc. The possibilities are endless - what an enigmatic score.

[Rod Corkin]

But even more disturbing in this most literal piece of minimalism, where are the dynamic, phrasing, and tempo markings? Is this B to be played Adagio, Moderato or Presto, staccato and forte or pianissimo and dolce, pizzicato or arco, on the G or D or A string, muted or unmuted, up-bow or down-bow, with a slight crescendo-diminuendo or an even dynamic, with or without vibrato, etc., etc. The possibilities are endless - what an enigmatic score.

I could have easily added more such indications, the software is comprehensive enough I think. But, as you have realised, less is more with a piece like this. But nothing is indeed nothing. If only I was around to help Cage out with his piece, I could have shown him where he was going wrong. Too late now...

[Haffner]

I could have easily added more such indications, the software is comprehensive enough I think. But, as you have realised, less is more with a piece like this. But nothing is indeed nothing. If only I was around to help Cage out with his piece, I could have shown him where he was going wrong. Too late now...

Yes.

[karlhenning]

Yes.

Musicologists in centuries after will refer to this, specifically, as The Great Tragedy of Cage's Career.

[(poco) Sforzando]

I could have easily added more such indications, the software is comprehensive enough I think. But, as you have realised, less is more with a piece like this.

I would say rather, less is less . . . .

[Haffner]

Musicologists in centuries after will refer to this, specifically, as The Great Tragedy of Cage's Career.

_{^{(chokes on coffee, laughing)}}

[Rod Corkin]

Musicologists in centuries after will refer to this, specifically, as The Great Tragedy of Cage's Career.

This is a truly a Blue Riband day Mr Henning, the day me and you are of the same mind.

[Szykneij]

Now that I've studied it for a while and feel I have a deeper understanding of the piece, my only suggestion would be to eliminate the anacrusis.

[Symphonien]

When it comes to one-note pieces, I still prefer Ligeti's fine effort for piano from 1961:

György Ligeti - Three Bagatelles

[Rod Corkin]

Now that I've studied it for a while and feel I have a deeper understanding of the piece, my only suggestion would be to eliminate the anacrusis.

See every negative thought that comes to mind as a positive.

[Rod Corkin]

When it comes to one-note pieces, I still prefer Ligeti's fine effort for piano from 1961:

György Ligeti - Three Bagatelles

Surely not? Mine is a more ambitious and interesting piece, if I do say so myself.

[Symphonien]

Surely not? Mine is a more ambitious and interesting piece, if I do say so myself.

Ah, but you see Ligeti realised an idea of this magnitude required at least three movements to express fully and, anticipating the inevitable great response to such a piece from the audience, even added an optional encore. And I do feel that C Sharp below middle C says so much more than the B above it does. Played on a piano, the sound will continue to resonate after it has been struck sounding a more complex and interesting sound than that of a solo violin's B for only one quaver beat. The silence of the other three instruments in your piece is intensified far greatly through the three other movements in Ligeti's piece which are of differing duration and have been marked with greater expressive details.

[greg]

How do we know Rod didn't get the idea from a Scelsi String Quartet...... (a version where one note is only played once?)....

[Szykneij]

If the free composing software was good, wouldn't it have changed the whole rests in the first measure of the 2nd violin, viola, and cello parts to quarter rests?

[Rod Corkin]

If the free composing software was good, wouldn't it have changed the whole rests in the first measure of the 2nd violin, viola, and cello parts to quarter rests?

See every negative thought that comes to mind as a positive.

[Rod Corkin]

How do we know Rod didn't get the idea from a Scelsi String Quartet...... (a version where one note is only played once?)....

Search for proof of fraud and deception all you like, I sleep soundly at night.  0:)