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Topic: LULLABY (Vesuvius) - Jamie Kowalski

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  1. #1

    LULLABY (Vesuvius) - Jamie Kowalski

    Here is a late addition to my tone poem Vesuvius. The piece had two movements, but this short lullaby is being inserted in between as sort of "breathing room" for the denser outer movements.

    Vesuvius II - Lullaby

    As it happens, I managed here to use my "short scale" theory idea which was discussed in this thread.

    Here are the other two movements for reference. They are in need of remixing, but I'll post them as they stand:
    Vesuvius I
    Vesuvius III
    Last edited by Skysaw; 11-10-2006 at 06:17 PM. Reason: updated link
    - Jamie Kowalski

    All Hands Music - Kowalski on the web
    The Ear Is Always Correct - Writings on composition

  2. #2
    Senior Member Tovan's Avatar
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    Re: LULLABY (Vesuvius) - Jamie Kowalski

    Wow, even though you used those scales and it sounds weird but I like it ... It's addictive to listen to.
    Ke Yang (OMG I'm using mah name)
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    My Work List With GPO

    Note: You might have noticed there's nothing there, yet. Massive editing going on.

  3. #3

    Re: LULLABY (Vesuvius) - Jamie Kowalski

    Jamie,

    Very cool piece indeed. I love how soft and subtle it is, yet still how much tension there is lurking beyond the surface. The different layers of sound are an interesting thing to play with, such as in the opening where you have the brass playing the same chord as the strings, off and on, to sort of switch focus a bit. I like it! Very atypical, and I think it's definately suiting as a transitional movement between two larger ones.

  4. #4

    Re: LULLABY (Vesuvius) - Jamie Kowalski

    me likes.
    a lot!

    has a little "hovhaness" sound to it, but not imitative, and of course, it has a bit of Messiaen (which is inevitable with limited transposition modes), but you appear to have made it your own, bravo.

    I'm wondering if the brass entrances at the beginning wouldn't have more effect if they were "cresc - dim" instead? < >? sort of fading in and back out.

    the GPO brass happen to do that wonderfully well.

  5. #5

    Re: LULLABY (Vesuvius) - Jamie Kowalski

    Thanks Tovan, Leif, and Michel. I appreciate the comments.

    Quote Originally Posted by Cobalt Katze
    The different layers of sound are an interesting thing to play with, such as in the opening where you have the brass playing the same chord as the strings, off and on, to sort of switch focus a bit.
    I'm glad you noticed (and appreciated) this. It came about by accident as I lengthened the notes of the cellos, but forgot the horns and tuba. Always listen to your mistakes, I say!

    Actually, the cello choir is my main problem with this realization. The sustained strings are cellos divisi in 4 parts with mutes (later in 3 and 2 parts). Obviously, the full section cellos make this too heavy (too many cellos per part), but I couldn't use the GPO solo sets as they have too much vibrato, and don't have sordino samples. I'll probably redo this when I can get my hands on the new solo cello library.
    - Jamie Kowalski

    All Hands Music - Kowalski on the web
    The Ear Is Always Correct - Writings on composition

  6. #6

    Re: LULLABY (Vesuvius) - Jamie Kowalski

    Spare and subtle, no wasted words, Jamie; and then
    that gorgeous transition into a sonorous richness that
    surrounds you like a comforting blanket.

    Like the woodwind work in this, too... just the right
    amount of commentary in just the right places.

    Listened through this several times as I usually do;
    right on the mark... beautifully balanced and tensioned
    throughout -- and nobody talking when they shouldn't
    be...

    Bravo!

    David
    www.DavidSosnowski.com
    .

  7. #7

    Re: LULLABY (Vesuvius) - Jamie Kowalski

    Quote Originally Posted by qccowboy
    I'm wondering if the brass entrances at the beginning wouldn't have more effect if they were "cresc - dim" instead? < >? sort of fading in and back out.

    the GPO brass happen to do that wonderfully well.
    I appreciate the thought here. I did consider it, but ultimately rejected it. To me, there is something haunting about the sudden disappearance of the chord, revealing its "shadow" underneath. There is actually very subtle use of CC#1 on the brass here, but just enough to add a little randomness and realism, and not to simulate a swell.
    - Jamie Kowalski

    All Hands Music - Kowalski on the web
    The Ear Is Always Correct - Writings on composition

  8. #8

    Re: LULLABY (Vesuvius) - Jamie Kowalski

    Thanks for the kind review, David.

    Quote Originally Posted by etLux
    ...and then that gorgeous transition into a sonorous richness that surrounds you like a comforting blanket.
    As we were discussing in the chat room, I usually have an aversion to writing "pretty," but sometimes it just wants to come out in spades! Anyway, I had to give those poor neglected lush string samples a little work.

    Quote Originally Posted by etLux
    -- and nobody talking when they shouldn't be...
    You have a knack for putting musical concepts into English. It took me twenty plus years to learn to cut the fat from my music, and I really appreciate that you value that aspect. It's a constant struggle with all the ideas I cram together in one pot. My next goal is to perhaps limit what I throw in in the first place.
    - Jamie Kowalski

    All Hands Music - Kowalski on the web
    The Ear Is Always Correct - Writings on composition

  9. #9
    Senior Member Leaf's Avatar
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    Thumbs up Re: LULLABY (Vesuvius) - Jamie Kowalski

    Jamie,
    On a scale of one to ten, this is a twenty!

    and very interesting thread on the scale theory.

    David

  10. #10

    Re: LULLABY (Vesuvius) - Jamie Kowalski

    Quote Originally Posted by Leaf
    Jamie, On a scale of one to ten, this is a twenty!
    and very interesting thread on the scale theory.
    Thanks David, much appreciated. Feel free to join in on the theory thread as well... trying to bring it back from the dead.
    - Jamie Kowalski

    All Hands Music - Kowalski on the web
    The Ear Is Always Correct - Writings on composition

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