Last week @terjefjelde asked me about my #composing techniques, use of #musicTechnology, and thoughts about #musicProduction, and I promised to reply when I had more time. Here’s a too-long thread about this and other things that came to mind…
@composers
Hey folks!
Do you have suggestions on how to notate live electronics parts in a score? I'm looking for ideas to represent the volume mixer for each processing, which includes fading in/out and crossfading effects
Fellow composers, are there any music for solo piano from the late 50 or 40 years that sounds refreshing to you?
By refreshing, I mean from a technical and/or aesthetical standpoint, not resembling too much the more traditional repertoire
Two good questions this morning from Andrew Simonet. The second is one I don’t think we talk about enough: you can’t just have the greatest art from the greatest artists, without the whole cultural ecosystem that produces and nurtures them. The minor artists and the failed experiments all play essential roles too.
Is it ok to take a popular #hymn and #paraphrase it beyond recognition?
Well, #composers have done it over the centuries.
Here is the latest contribution to the series with a modern take on the #Danish hymn 'Lyset engel' (Angel of light) by Danish ensemble Via Artis Konsort. https://youtu.be/NKSa70ZYixY
A chamber orchestra composition I recently put on PeerTube! One of the percussionists is placing a contact mic on a large speaker to make flabby feedback; the pianist is using a contact mic/transducer against the piano strings; and there's lots of microtonal/noise sounds from the rest of the ensemble.
Magnificat, for unaccompanied choir, was written for the New York Virtuoso Singers in 2000. It is dedicated to the loving memory of my great-aunt Dorothy McMullin, Sister of Mercy (1904-1999), whose love and joy, kindness and good humor inspired all who knew her.