Henning's Headquarters

Started by BachQ, April 07, 2007, 12:21:26 PM

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karlhenning

Or, I can just be bonkers.

I don't overlook that possibility.

karlhenning

A tragi-comic MIDI to go with this.

karlhenning

Got more pen-work on The Angel done on this morning's bus ride.  And, from last night's session with Sibelius, I am enjoying a feeling of greater confidence in the new software environment.  Of course, I am going to find yet other questions when I get to work on an orchestral score (thinking ahead to resumption of work on White Nights), questions which would not arise when working on a piece for solo wind instrument.  We'll see, but I'm inclined (when I've finished The Angel) to make an orchestral-score-in-Sibelius exercise of the Overture to White Nights.

karlhenning

#683
Okay . . . the first two measures were where I had left off yesterday (and the pdf file uploaded last night reflects the fact that the Sibelius file 'caught up' with the MS.)

So, from the third bar at the top (the measure beginning with a quarter-rest) down to the sixth line, the fourth bar of 6/8, was the work I got done on the bus ride into Boston this morning.  All the music from the 32nd-notes starting the fifth bar of 6/8, I wrote with the assistance of the Boston Common squirrels, at around two of this afternoon's clock, which probably accounts for the skittish rhythmic activity.

greg

Quote from: M forever on September 29, 2008, 08:00:07 PM

Or maybe your cheapo guitar simply doesn't hold its tuning? Real men don't play the guitar anyway. Real men play the bass.
Yeah, I know, and everyone who has ever gotten into music has gotten into it because of all the famous bassists. Geddy Lee and Billy Sheehan, now THEY'RE the ones who inspired me to pick up bass, but I decided I didn't have the skills to play repeated note bass lines, so I took up the less challenging instrument, learning how to play lead guitar. But oh well, maybe one day I'll figure out how to play bass and become a real man  ;).

greg

Quote from: karlhenning on September 30, 2008, 04:51:38 AM
I do like 'blurring categories' harmonically;  it's perhaps a sort of concrete application of the questions we've raised various times in the past:  'atonal' obviously means "other than Common Practice";  but is there really such a thing as "atonal"?  Is it a question of 'sonic gravity/attraction', and therefore is the composer at liberty to 'manage' varying degrees of that 'gravitation'?  Are the question and nature of the importance of that 'gravitation' creatively negotiable?

Cool. I don't think there really is a true "atonality", but if you play a series of even rhythmed chromatic notes, like A A# B C C# etc., which note will have the most gravitational force? To me, first place is C# while second place is A. This is a good test for that, being lined up that way, because in "atonal" music, there's always going to be a push or a pull, with occasional 3rds and 5ths- if you've got just semitones w/out repeating notes, i don't see how it can get closer to true "atonality", if there is one......

I think this also could relate to memory- if I say 5 completely random words, what will stick in your mind when I'm done? The last one, maybe? I don't know, what do you think?

btw, Thanks for the posting the sound file. The beginning reminds me of The Bend of Time...

karlhenning

Folded in some detail, which I notated to the printout on the bus ride home, into the Sibelius file.

Now for the rest of the MS.

karlhenning

Close. Very close.

But not there just yet.

karlhenning

As I review the work-in-progress this morning, I find it even closer to finished than I'd allowed myself to think last night (end of a long day, and all that).

1.  On the bus ride this morning, I drew up an 'insert' to improve one particular seam.

2.  I want to think the whole thing over a bit, because in the back of my mind, I've wanted to throw in some flutter-tongue.  Won't need much.  And I need to check with Chris to see about flutter-tongue while using a certain mute.

3.  Off the cuff, I had told Chris (the piece as yet not even started, let alone written) the piece would run 12 minutes.  While in the process of composition, I didn't insist to myself on that;  but was content if I should find the piece running 9-10 minutes.  In the event, though, allowing for 'breathing' (and breathing), phrasing, relaxations of tempo in live performance which will not actually seem like 'slowing' the music . . . I think it is probably a 12-minute piece.

J.Z. Herrenberg

Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything. -- Plato

karlhenning


karlhenning

Just back from a walk on the Common. Had a nice soft-spoken chat with my buddy, Vasya:

M forever

That's a squirrel, Karl. Have you been drinking?

karlhenning

Quote from: M forever on October 02, 2008, 08:50:48 PM
That's a squirrel, Karl.

Good!

QuoteHave you been drinking?

Darjeeling tea.

greg

Quote from: karlhenning on October 02, 2008, 10:31:33 AM
Just back from a walk on the Common. Had a nice soft-spoken chat with my buddy, Vasya:
He looks yummy. I wonder what he tastes like.

karlhenning

Quote from: GGGGRRREEG on October 03, 2008, 03:24:20 PM
He looks yummy. I wonder what he tastes like.

Odd. He said just the same about you.

greg

Quote from: karlhenning on October 03, 2008, 03:35:40 PM
Odd. He said just the same about you.
Probably average. I mean, the humans I've tried can vary from being nasty to not bad.......

(oh, i've already leaked that secret, btw, not just on my signature, so I'm comfortable talking about it. )  :)

karlhenning

At this point, just adding finishing detail to The Angel Who Bears a Flaming Sword.

lukeottevanger

...The Squirrel who Bares his Flaming Nuts......

J.Z. Herrenberg

Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything. -- Plato