Henning's Headquarters

[Karl Henning]

Well, here's № 2, which I do think finished (in folding it into Sibelius this morning, I added some dynamic bits which I didn't trouble to scrawl onto the MS.)

[Karl Henning]

And (al que quiere) № 1

[Karl Henning]

Went for a nice hour-long walk afterwards, too.

[TheGSMoeller]

Thanks for sharing your music, Karl. 

[Karl Henning]

Thanks for your support, Greg!

[TheGSMoeller]

Thanks for your support, Greg!

You're welcome.

[Mirror Image]

Now, if only Karl could finish that ballet....

[Karl Henning]

Thanks for the thought, John!

Now, if only there were an orchestra (in the case of this piece, let's be specific: a professional orchestra) whose leader wants a piece by Karl.  That is, at any point when there is an occasion, I am sure I should finish the piece.  In present circs, I find that ideas flow readily, knowing there's an actual performance at the end.

[Karl Henning]

Sunday, I got a fair start on № 3. I left it to "rest" yesterday (cyclically, it proves easy to leave Monday entirely to non-musical — or to musically passive — pursuits). Picked up pretty much where I had left off, this morning ... indeed, once again, after a little rest of the compositional mind, the path has become thrillingly clear.

[Karl Henning]

№ 3 starts out kind of minimalist: Only two pitches used in the first ten measures.

[Mirror Image]

Thanks for the thought, John!

Now, if only there were an orchestra (in the case of this piece, let's be specific: a professional orchestra) whose leader wants a piece by Karl.  That is, at any point when there is an occasion, I am sure I should finish the piece.  In present circs, I find that ideas flow readily, knowing there's an actual performance at the end.

You're welcome, my friend.

Yes, I really would like to hear it done by a professional orchestra with a dedicated conductor. How would you describe the music to this ballet, Karl?

[Karl Henning]

№ 3 starts out kind of minimalist: Only two pitches used in the first ten measures.

Thus:

[Cato]

E and D#: that makes sense, given the "tonality" of the opening movement, and the piquant minor second/minor ninth nature of the middle movement.

[Karl Henning]

May sound distrait, but I am always glad to have this sort of thing confirmed by a separate set of ears . . . I just "heard" the piece starting there (felt it in my fingers, as much as heard it in my inner ear, you may say) and (I thought) it felt right . . . .

[Cato]

May sound distrait, but I am always glad to have this sort of thing confirmed by a separate set of ears . . . I just "heard" the piece starting there (felt it in my fingers, as much as heard it in my inner ear, you may say) and (I thought) it felt right . . . .

And I think your instincts are quite on target!  The hin und her should be fun: will you take it to other octaves, or other other notes, or...?

[Karl Henning]

And I think your instincts are quite on target!  The hin und her should be fun: will you take it to other octaves, or other other notes, or...?

The proper response is to show you the 20 measures I've drawn up since!  Hang on . . . .

[Karl Henning]

Well, and I seem to have exaggerated a shade . . . I've only just gotten to m. 25 now . . . .

[Karl Henning]

Apologies for the chicken scratch . . . I can make it out, but it's unfair to expect it of anyone else.

Anyway, blame the motion of the bus, at least in part . . . .

[Cato]

Apologies for the chicken scratch . . . I can make it out, but it's unfair to expect it of anyone else.

Anyway, blame the motion of the bus, at least in part . . . .

You forget: I have dealt with penmanship from children and adolescents, not to mention incompetent colleagues on the faculties, for decades!

[Karl Henning]

; )