Max, while this clearly demonstrates an extreme level of craft and talent, it still, in my opinion, echos other composers a bit too much and not enough of a different twist. However, it's very very close, and I would not exclude this from a list of opus numbers by any means.
@Exanimousx - Thanks for your comments - and I agree, it's very Webern-like (because I love Webern!) Actual composing (with pencil and paper) is so time consuming - and with so little prospect of a good performance - that I find it's more practical for me to express my "personal vision" directly. If you look at the other videos on this page you'll see it's mostly me and a guitar. I could have made written "compositions" of all of these musical ideas, but it makes no sense to waste the effort.
I like this, like most music of this style I hear the sounds of nature within its structure.
I just started studying pointallism and atonality in music. I have to say I'm quite pleased with the results. I rarely write pieces that are completely atonal/pointallistic though, I like spreading them through my works in a calculated manner more. I alos write metal music for a band, the members had a good time when I gave them music like this. :)
You're right - it's not necessary to use the 12 tone technique in the Schoenberg/Webern manner. I did the same thing you're talking about with my jazz fusion band. It's on this page - "Shock Treatment" - the "A" section is a 12-tone row in which each band member plays a different version.
Writing music takes a huge amount of time and I don't want to waste it writing for the "majority" who already have plenty of music to listen to. My only rule is to write what I would like to listen to myself.
Haha, I couldn't agree with Max more on this point... if I wanted to write for "most humans" then I wouldn't be writing music for "mostly me" and I don't need the frustration of writing for someone else unless it pays really, really, really well :-D
Hi - glad you found my other page. To answer your question - no, not exactly. Each of the five movements uses it's own row, and for each one I created a matrix with all the possible transpositions. Each progressive movement becomes somewhat more complex in the use of the rows. In Mvt. 1 it's pretty straight-forward presentations of the row - the pitches distributed among the instruments. When the notes of one row are used I move to another form....
... as the movements progress the use of the row becomes more complex - simultaneous combinations of pitches 1-6 in one instrument while 7-12 are used in another, etc.
Thanks for your comment. I wrote it. You can probably tell that I like Webern - it's a twelve-tone work in the "Webern style". I appreciate your interest!
Thanks again - I am a fan of Webern also. Composition takes so much time - my thought is that I should only write what I personally would most like to hear (because I might be the only one who wants to hear it!).
Max, while this clearly demonstrates an extreme level of craft and talent, it still, in my opinion, echos other composers a bit too much and not enough of a different twist. However, it's very very close, and I would not exclude this from a list of opus numbers by any means.
You could do more with your own personal vision!
Great composing!
Exanimousx 2 years ago
@Exanimousx - Thanks for your comments - and I agree, it's very Webern-like (because I love Webern!) Actual composing (with pencil and paper) is so time consuming - and with so little prospect of a good performance - that I find it's more practical for me to express my "personal vision" directly. If you look at the other videos on this page you'll see it's mostly me and a guitar. I could have made written "compositions" of all of these musical ideas, but it makes no sense to waste the effort.
MaxRidgway 2 years ago
I like this, like most music of this style I hear the sounds of nature within its structure.
I just started studying pointallism and atonality in music. I have to say I'm quite pleased with the results. I rarely write pieces that are completely atonal/pointallistic though, I like spreading them through my works in a calculated manner more. I alos write metal music for a band, the members had a good time when I gave them music like this. :)
5RetardedSquirrels 2 years ago
You're right - it's not necessary to use the 12 tone technique in the Schoenberg/Webern manner. I did the same thing you're talking about with my jazz fusion band. It's on this page - "Shock Treatment" - the "A" section is a 12-tone row in which each band member plays a different version.
MaxRidgway 2 years ago
I like this piece. It does indeed sound like Webern.
lendallpitts 2 years ago
5*****!!!!
terrestial63 2 years ago
Thanks!
MaxRidgway 2 years ago
why cant you write a tune that most humans on this earth can relate to ?
ThorSpirit 2 years ago
Writing music takes a huge amount of time and I don't want to waste it writing for the "majority" who already have plenty of music to listen to. My only rule is to write what I would like to listen to myself.
MaxRidgway 2 years ago
Haha, I couldn't agree with Max more on this point... if I wanted to write for "most humans" then I wouldn't be writing music for "mostly me" and I don't need the frustration of writing for someone else unless it pays really, really, really well :-D
Exanimousx 2 years ago
I agree with Corn15... This isn´t avant-garde... but it sounds good, very very good. And it really sounds like Webern.
brunoyukio 3 years ago
Good work, but this isn't avant-garde as you placed in your tags.
CornCorn15 3 years ago
Well, that's true I suppose. You can't expect perfect honesty and absolutely accurate descriptions in the tags...
MaxRidgway 3 years ago
there is no avant-garde. all music is based on something that has been before, therefore it can't truly be avant-garde
Steinway12345 2 years ago
which is another reason why the term should not be in MaxRidgeway's tags...
ChadRLatta 2 years ago
This is great! Just interested: Did you rotate the notes in strict twelvetone technique?
GreggaryPeccary 3 years ago
Hi - glad you found my other page. To answer your question - no, not exactly. Each of the five movements uses it's own row, and for each one I created a matrix with all the possible transpositions. Each progressive movement becomes somewhat more complex in the use of the rows. In Mvt. 1 it's pretty straight-forward presentations of the row - the pitches distributed among the instruments. When the notes of one row are used I move to another form....
MaxRidgway 3 years ago
... as the movements progress the use of the row becomes more complex - simultaneous combinations of pitches 1-6 in one instrument while 7-12 are used in another, etc.
Thanks for asking!
MaxRidgway 3 years ago
This has been flagged as spam show
that's a good rule to follow - but you're not the only one!
albachteng 3 years ago
that's a good rule to follow - but you're not!
albachteng 3 years ago
what is the composer's name? it's really quite well done.
albachteng 3 years ago
Thanks for your comment. I wrote it. You can probably tell that I like Webern - it's a twelve-tone work in the "Webern style". I appreciate your interest!
MaxRidgway 3 years ago
i had noticed! reminds me of his little pieces for solo cello. webern is wonderful
albachteng 3 years ago
Thanks again - I am a fan of Webern also. Composition takes so much time - my thought is that I should only write what I personally would most like to hear (because I might be the only one who wants to hear it!).
MaxRidgway 3 years ago
Actually, they really reminded me, in parts, of his five movements for string quartet. I really liked it! good work, sir
Steinway12345 2 years ago