Children of Illuvatar

[wrayer]

Here is a piece I wrote in 1980. It's taken notation software that long to allow me to transport it into sounds that a computer could realize. It is written in alleatoric notation and was played in 1981 by my highscholl band (I was the director of the band not a student.)

Illuvatar is named after a fictional god from the J.R. Tolkein's mythical epic The Silmarillion.This piece is an alleatoric dialogue between different sections of the band. It represents the babble of children in a world far from our own where the god, Illuvatar looks down upon his children.

Since it is alleatoric, it would sound slightly different on each real reading. I had to realize each part as if I were the performer, so it has taken me awhile.

I warn you, it is a difficult listen.

The Children of Iluvatar

best,
Bill

[RichR]

This is certainly interesting and definitely worth a few listens to hear and feel the scope of this piece. I am still trying to comprehend how you went about putting this together.

Great Job!

[Tom_Davis]

I found this selection fascinating, and not at all hard on the ears. My only thought a former band director is how in the world did you bring the students to such a sophisticated level to allow them to perform it.

[wrayer]

I found this selection fascinating, and not at all hard on the ears. My only thought a former band director is how in the world did you bring the students to such a sophisticated level to allow them to perform it.

They were my students and really wanted to do it. One of them is now the Director of the Institute of Music In Brussels.

I am glad you enjoyed it. I hope you enjoyed my book as well.

Best regards,
Bill

[wrayer]

This is certainly interesting and definitely worth a few listens to hear and feel the scope of this piece. I am still trying to comprehend how you went about putting this together.

Great Job!

Well, there is no formula. Music is another way to capture a moment. Push, pull, dream, sleep, what is there is what you imagine. I imagine, and let the notes create.

Glad you enjoyed it.

best regards,
Bill

[wrayer]

Bill's little bump...

Oh, did I tell you, it is being considered to be played in Brussels next year.

Oh That's right, you guys don't care.

[Frank D]

Hi Bill,

I remember a friend telling me years ago about some George Russell stuff, where the musicians had parts, but no specific note durations nor timeline reference (I believe he called them 'events'?). This sounds a bit like that.

I would think the toughest thing in a live performance would be having the ensemble play in-tune. If not, it could degrade to a bunch of noise. Pretty impressive you got your HS ensemble to pull this off.

Congrats on making this sound like different musicians were participating on the performance! And congrats on maybe getting this performed!

Regards,

Frank

[wrayer]

Most contemporary composers write the lines now, without allownig the players and choices. The concept really draws from the Jazz idiom. Here are some chords - go play. We call that alleatoric (before you rule freaks say that's not right...) Alleatoric is allowing the player to decide what, when, how loud, how fast... etc. You just give him the basis (or her) and let their creativity take it away. Yes, it was difficult for HS students to grasp this, but they are pretty smart people if you give them a chance. Heck, one of them, the one who reminded me I wrot e this work, is now the Director of the Choral Society in Belgium - Eric Delson, look him up!

Thanks for listening!

Bill

[wrayer]

I'm bumping because I note this work was downloaded 43 times with but a few comments. Just putting back where others can give it a listen. Would anyone be interested in seeing a portion of the score?