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Topic: Requiem-All Parts

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  1. #1
    Senior Member fastlane's Avatar
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    Requiem-All Parts

    This is the four parts of my Requiem. I've added additional music to the previously posted Going Home.


    Part 1. Going Home

    Part 2. The Darkness

    Part 3. The Light

    Part 4. Alpha Omega

  2. #2

    Re: Requiem-All Parts

    Hi Phil,

    The other two pieces are quite interesting especially 'The Light". It brings such rich material to play with in different sequences. I find it a pity that you don't actually work with it, it just remains some kind of musical statement. It would be so lovely to hear the choral thema (and the piano) interfere with each other, in some kind of arguing counterpoint (which one to be the source of light...).
    The musical ideas and their sonic translation are absolutely quality and so is the rendition. Wouldn't you want to let the theme's evolve? Doing so, you would enter a whole new dimension of philosophical reflection into your piece.

    Jos
    Jos Wylin

    http://www.joswyl.be compositions and sampling practices

  3. #3
    Senior Member Tom_Davis's Avatar
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    Re: Requiem-All Parts

    Nicely done. I have to admit a preference for the Alpha and Omega movement, but all four are very effective each in its own way. I once did a jazz requiem for a college composition class. The professor said very nice, but without words what's the point. I told him that without words it was not limited to any specific people. He just walked away. I never did find out if he understood what I meant.

    You have done this piece credit and I sincerely hope you will provide us with more soon.

    Tom


    Quote Originally Posted by fastlane View Post
    This is the four parts of my Requiem. I've added additional music to the previously posted Going Home.


    Part 1. Going Home

    Part 2. The Darkness

    Part 3. The Light

    Part 4. Alpha Omega

  4. #4
    Senior Member fastlane's Avatar
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    Re: Requiem-All Parts

    Quote Originally Posted by Max Hamburg View Post
    Hi Phil,

    The other two pieces are quite interesting especially 'The Light". It brings such rich material to play with in different sequences. I find it a pity that you don't actually work with it, it just remains some kind of musical statement. It would be so lovely to hear the choral thema (and the piano) interfere with each other, in some kind of arguing counterpoint (which one to be the source of light...).
    The musical ideas and their sonic translation are absolutely quality and so is the rendition. Wouldn't you want to let the theme's evolve? Doing so, you would enter a whole new dimension of philosophical reflection into your piece.

    Jos
    Thanks for your encouragement and insiteful suggestion Jos. Yes, I believe I understand what you mean about creating something larger in thought with the “The Light”. I think it “works” as is but it maybe there is more to communicate to the listener. I guess it’s like “what are you gettin at here”.

    I’ll have to put on my thinking cap and see what happens.





    Phil

  5. #5
    Senior Member fastlane's Avatar
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    Re: Requiem-All Parts

    Quote Originally Posted by Tom_Davis View Post
    Nicely done. I have to admit a preference for the Alpha and Omega movement, but all four are very effective each in its own way. I once did a jazz requiem for a college composition class. The professor said very nice, but without words what's the point. I told him that without words it was not limited to any specific people. He just walked away. I never did find out if he understood what I meant.

    You have done this piece credit and I sincerely hope you will provide us with more soon.

    Tom
    Hi Tom,

    I’m happy to hear you liked the Alpha and Omega movement the best. It’s the one that sort of popped into my head but I wasn’t quite sure about with the fifths no, no.

    A jazz Requiem sounds pretty interesting. I looked up the definition of requiem and it can also be music. Maybe your teacher researched it also and discovered he had errored.

    I wrote this while my choir was working on Faure’s Requiem. It was nice music but it was more like a mother’s soothing lullaby or hymns.

    Thanks for the positive comments.




    Phil

  6. #6

    Re: Requiem-All Parts

    Good job, Mister Phil! Your compositional abilities have improved over time, my friend.

    Keep up the good work. I like it.

    Best,

    Larry G. Alexander

  7. #7
    Senior Member fastlane's Avatar
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    Re: Requiem-All Parts

    Quote Originally Posted by larryalex1 View Post
    Good job, Mister Phil! Your compositional abilities have improved over time, my friend.

    Keep up the good work. I like it.

    Best,

    Larry G. Alexander
    Thanks so much for your encouragement Larry.




    Phil

  8. #8

    Re: Requiem-All Parts

    The following two sections 'spoke' to me. Of course this is not my genre of music, so I probably hear it differently from others here. I do not know the etiquitte or rules composers follow, so take my comments with a grain of 'low-sodium' salt. (ha ha).
    The Darkness really 'jumped' out at me.. controlled somber chaos. Just 2 steps short of 'creepy'.. Loved the voice pitch changes. Perhaps some more thundering drums.

    The Light - This piece awakened to me at 1:20 with the piano and very light orchestration.. Sort of like the sunrise, it starts small, then builds up in scope. I might have started it at that point,

    The female chorus is STUNNING..

    In any event you have obviously put a good amount of work into this. Bravo.


    Thoughts on being 'creative'

    Many, many years ago.. I had a mentor, manager.. My job at that point was to come up with pop songs. We would sit down once a week, and go over everything I had done.

    His advice to me back then (70's . Was to write/record a piece, throw away the weakest 90% and re-write.. I was required to do that three times. We would go over the different versions.. great learning process.

    Now - At this point. I add, modify parts, saving each change as a new song in Logic. Then listen the next day or do. and realize what I added, changed was good, or not good. I eventually had no qualms about throwing away 'my precious parts', cause frankly they were not that precious. But sometimes I would be surprised. What I thought was so-so might really sound quite striking 2-3 days later.

    Then I started to coalesce the different parts together. Chop out 2/3 or a string line, Chop up an added reed line. Re-assign and slightly re-write that to all be a string line. Often I listen to the piece and pick out the weakest section of a part, mute it out, re-do it, (or substitute a new instrument and motif). I found a strange phenonom. I can write some decent parts, but they don't come out in the right order, or in 'real-time' (once in a while). I put Logic in to 'mute, create new track overdub mode). I do several passes. A day or two later. I listen to all the takes, cut out the 'crap' and take the good parts, sometimes have to move them around in piece, so build up/down is if correct. When I move them, I have to make note modifications to have the motif 'fit' the current chord structure.

    Other times now, I can look at the orchestral score, and 'see' the weak and strong sections. and massage and manipulate the piece. It's process of being subjective/objective for different phases of the work.

    The beauty we have with technology, is we can change/erase/modify with everything retrievable.

    Keep up the great work

  9. #9
    Senior Member fastlane's Avatar
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    Re: Requiem-All Parts

    Hi Angelonyc,

    Thank you for the encouragement!

    I know that song writing can be every bit as difficult as composing works. It's probably more a craft like soundtrack scoring but it still requires those basic talents and skills. I think one doesn't become more talented as your work matures but you become more skillful with your music. It sounds like you have found an efficient way to edit your music. The saying is composing is 25% inspiration and 75% perspiration. I'm not sure exactly what my method is but I learned along time ago to be objective about one's musical idea, maintaining a critical approach.




    Phil

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