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False Dawn / Strings and Synths
Improvised. Kawai Shigeru Pianos. BASSalicious. iSymph Strings. ThumbJam Cello. Model D. Magellan. BeatHawk B3.
Comments
That may be the best thing I’ve heard you do. Would have liked some compression and more reverb on the iSymphonic Strings to counteract the weird envelope they seem to have, but the piece itself is lovely.
Thank you so much @TheOriginalPaulB. I hope @Daveypoo will give a listen as he thought my last, A Moogish Noise was my best to date. And totally different genres! Well, I am pleased they seem to be going in the right direction.
As for the strings, I know they do not sound “mainstream”, but I give this subject a lot of thought, and always come up with the same answer... if the sound is right for me, even tho it does not sound like a pro recording, I will go for it. I am iconoclastic by nature, and, since no more than a few dozen folks will ever listen to any one track I prefer to sculpt my own individualistic and somewhat flawed “sound signature”. Of course your observation is correct for the world we live in, but for me... it is all how I feel about it.
This is not to say if a track has too much bass, or the piano too shrill I want to hear about it and will alter.
For the rest I am interested but don’t always agree. Thanks for listening, liking and thinking about it, Paul. Much appreciated!
I really enjoyed this. I would say it's too sophisticated in terms of composition to be labelled ambient: it's cinematic! Also listened to Cannibals for Dinner - very 70-'s soundtrack - in a great way! I agree with @TheOriginalPaulB. about False Dawn - I found the strings too dry and that more depth to the sound could achieved more depth to the sound. But the composition is wonderful. I will listen again on home system.
Nice harmonies.
Ok, gauntlet thrown... So let's get crackin'!
Wow, lots going on here. This most certainly comes across as more considered than other pieces of yours. I love the lyricism that drifts in and out of consonance, and the chromatic moves are magical - in fact, I really like that the melody is chord- driven, and the morphing of the main voice is just beautiful.
There's George Winston-esque voicings mixed with an abstractness that makes it more than anything Windham Hill would release (and I LOVE me some George Winston). This is really magnificent, sir - again with the morphing voice as it travels through the piece. You almost got too outside around 2/3 of the way in but you pull it back JUST before it sounds like you're searching. The only thing I'd do differently is end it right on the cadence at 4:27 - it would be the perfect balance for the whole piece. I know it's the more obvious choice, but when you fade it out it does an injustice to the sense of purpose in the rest of the piece.
Very nice - a great mix of lots of the ideas we've been discussing in the other threads!
Love the piano melody beginning @ the 50sec timemark.
I enjoyed it very much.
Thank you for sharing it!
Thanks @ElectroHead. Yeah, it's not really ambient, but SoundCloud just doesn't offer enough genres!
Thanks for listening @Wrlds2ndBstGeoshredr ... making any headway at becoming Wrlds Best?
@Daveypoo, very cogent analysis as always, and thanks for taking the time. There is often the feeling as I play that things are disintegrating and then come back together. I am very critical, myself of meandering or noodling around. I can't consciously avoid it, but something deeper seems to bring me back from the noodling brink.
I think you mean at 4:17... yeah, it is a clear resolved ending, but tho I do not plan these things this piece has several beginnings and endings (hence False Dawn occurred as a title) adding the last one seemed appropriate, but in other circumstances I would probably agree. Btw, the photo is of a sunset...... another false dawn... yes, another false dawn. Oh, and another 😜😘
Thanks for being a fan. The feeling is mutual!
@LinearLineman I like that you're able to dance in and out of consonance and traditional harmony - anytime I play "outside" it just sounds wrong to my ears. I've always struggled with how to "contextualize" my improvisations when I play outside - it sounds to me like I'm searching, and most times I am. Like I've mentioned in the past - abstraction and atonality aren't sounds I "hear" in my head when playing, so it's always been difficult to push myself there and not feel like I'm flailing.
Oh yes - I'm a fan. And I am also reminded of how woefully inadequate I am when it comes to real jazz. I can fake it (read: DINNER JAZZ) but I've never had the vocabulary of a TRUE jazz musician. Too much harmony that flies by too quickly for my brain to process...
@Daveypoo... you've written a few times about your desire to have the jazz vocabulary and, or, a broader sonic palette notewise. IMO, you are coming at it from the wrong direction. Which is exactly what I did until I met my great, late, teacher, Connie Crothers (and her teacher, Lennie Tristano). I wrote three essays about Connie's invaluable and enlightening techniques and insight into the world of improvisation when I first joined the forum.. Here is one that could turn your thinking (and playing) around completely. Without the described approach my ears would never have stretched and explored the possibilities. Perhaps it will resonate for you.
https://forum.audiob.us/discussion/27012/how-to-improve-your-keyboard-improvising-100-in-three-weeks