Henning's Headquarters

[karlhenning]

Call it a fifth and you're getting dangerously close to plagiarising LaMonte, you know...

Well, I feel I largely did that in Nuhro (and others) . . . do I owe Mr Young['s estate] royalties? ; )

Say!  Did you listern to the Hodie?

[Luke]

DId I ever - sorry, I should have got back to you as soon as - it's simply a beautiful piece, Karl, and so simple, so much a tone of its own, and your own. Though harmonically more restrained than your instrumental output, and understandably so, for a number of reasons, it's still very 'you', and the way in which you let the sopranos melismatically carry the brunt of the melodic writing whilst making those lower drones speak so meanigfully reminds me of parts of your Passion - you know the bits I mean, I suspect. Love the clarinet interjections, too, and the tonal balance of the whole, always circling around the same area in some respiects, whilst sliding away from it in others. A really great piece...

[karlhenning]

(* blush *)

Thank you!

[karlhenning]

In the can? Surely it's not that bad....

It's funny how a piece can take on its own life or momentum, certainly.

I think it will be easier (or will take less time . . . maybe) to finish Suspension Bridge if I cool off mentally and return to my original notion of the overall span (pun intended, if you like).  Right now, I feel that the last 20 measures I composed (most of them not yet reflected in the latest PDF) are accelerating . . . somewhither.  If I don't reflect, that will sort of take over.  So . . . I need to find the right way to apply the brakes ; )

[Luke]

So . . . I need to find the right way to apply the brakes ; )

Not this more traditional way to call a halt to a suspension bridge, then....

though who knows, maybe that could become a useful musical image. Would make an interesting concept...!

[karlhenning]

Oh that was horrible!

[Luke]

True. But, divorcing things from actuality, I quite like the idea of introducing a second tempo which combines with the preceding one to cause unpredictable ripples in the music and bring things to a head...which is the musical imagery such events suggest to me.

[karlhenning]

True. But, divorcing things from actuality, I quite like the idea of introducing a second tempo which combines with the preceding one to cause unpredictable ripples in the music and bring things to a head...which is the musical imagery such events suggest to me.

Yes, very well bethought.

[karlhenning]

The parakeets have helped me out with a section which in my notes I called "viola corkscrew" . . . wound up as a sort of moto perpetuo, and I think I've decided that I want the piano to sit that whole bit out.

I shall see if I can lay in a bit more work before posting a fresh PDF.

[karlhenning]

Well, I have made for more work for the violist. But I think the result justifies it . . . .

[karlhenning]

Got a bit done on the bus not many minutes ago. (Cor, what a wet morning it is here in Boston!)

I've got three 'sections' to compose out yet, and know exactly what I want to do.  Just need to put in the time.  Very exciting!  (For me, anyway ; )

[karlhenning]

I think I may just be done.

[karlhenning]

I've gotten to the final double-bar.  I'm at the stage where I wonder if I'm really done (apart from adding lots of necessary detail, I mean), or if I need to tweak things.I shouldn't have gone to the Crappy Taste thread, because The Degenerate Lady's rants just make me enjoy the score as it stands, reflecting on how it would put the hoit on her ears ; )In all events, I'll sleep on it and look again, hard, in the morning . . . .

[Luke]

I'll sleep on it and look again, hard, in the morning . . . .[/font]

Hope it's not too crumpled...

But.....following your little hint......I've just read the insanity that has been posted on the general board whilst I've been asleep. Teresa.  Josquin.  Toucan.  Where does one start?  I'm feeling a little bowled over by the obnoxiousness and idiocy of all of this stuff. Right now I think hiding out on this board, and taking shelter in the various Headquarters and Outposts is the most attractive proposition!

[karlhenning]

; )

[karlhenning]

Well (busy day at the office), I have at last sat down with Suspension Bridge, and have scrawled all the dynamics which have been so sharply lacking. Guido, is there enough time to remove the mute mid-m. 48? Or need I wait for a 'real break' like m. 93?

[Luke]

Let me be a stand-in Guido for a second - that's enough room, yes. There are other places in that passage where you could do it, too - anywhere with more than, say, 3 beats, I would think. Personally I might be tempted to do it over 54-55, because that's where the change of texture is too, so that could be brought into further relief...

[karlhenning]

Thanks, Luke! (I nearly addressed the question to the two of you collectively.)  And yes to 54-55.

Do you reckon the beginning of m.151 is enough to place the mute back on?  Or maybe what will be better is: if I put a fermata over the quarter-rest at the end of the viola's m. 168, and put the mute back on then.  I do like that better . . . so the viola is at full-voice for the section before.

[Luke]

Yes, that makes sense - will be very effective!

[karlhenning]

Maybe very close to completion, indeed.[Here's a mystery: when I go to the Document Setup page, the staff size is the same in both documents (Fair Warning & Suspension Bridge) . . . yet they are not in fact the same size . . . .]

Dana & I shall meet tomorrow.