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Eye Of Glass / Minimalist Homage
Too much melodic development in this to be truly minimal, but Philip Glass truly struck me with awe. Saw Einstein On The Beach at the Brooklyn Academy of Music around 1980. It was like sticking my finger into an electrical outlet. Pure musical energy.
Zeeon is the later on lead sound. Otherwise three tracks of BeatHawk horns, iFretless Bass, iSymph strings and two tracks of RC275.
Comments
I see what you mean.Personally though, this reminds me more of Michael Nyman’s work, in particular The Draughtsman’s Contract. Example here:
@Svetlovska, I hear why you say that about Nyman’s piece. The timbre of the horns and the clarinet.
Like Baroque instruments played by a hurdy gurdy. Thanks for listening!
I have to agree about the Nyman piece being closer to your improvisational style. You really need to
pick a pattern and repeat without changes to channel Glass effectively and that's not your improvisational MO. Your patterns morph over shorted time horizons.
A re-mixer could mine your MIDI streams and make Glass-like projects. If @daveypoo got that inspiration or @rs2000. Are there other FotF's (Friends of the Forum) out there that make take this
collaboration challenge because I love Glass too. I can program Glass but live I'd do Nyman too. You have to be a well oiled machine to play Glass live.
Fuck this is really good. I love it on quite a few levels.
Damn, thank you @robertreynolds! I have misgivings about it. As @McD said, my playing is sloppy and this type of music requires precision. I cannot stop myself from diffusing hither and thither. But I loved the sound of the BeatHawk trio of staccato trumpet, trombones and xFrench Horns.Not for their realism but for their funky sonic effect. Also loved the Zeeon Future Singer patch.
Often I am just challenging myself to turning a sow’s ear into a silk purse as best I can. The raw track was pretty lame but I would grade myself an 80 on this one. Curious as to what worked for you?
The lack of quantization is what gives it tons of character. And your selection of instruments makes it feel modern and classic at the same time. I would buy this.
What can I say, @robertreynolds? This is very high praise. Thank you very much. And much appreciated, on many levels.
This type of music is perfectly valid but Philip Glass was like clockwork. That to me is where the
meditative qualities kick in... if you don't yield to it then it's a type of torture as you wait and wait and wait for variations. The patterns are so short (4-6 notes) so you can easily pull them out and watch them if he does move them around in parallel transformations.
Nothing about your style matches that type of development. You prefer to make a pattern and then play something to contrast with it. It's very good and the fact that you do it with 2 hands in realtime is proof of years of effort. I think you enter a mental state where you don't use time with any external reference... a metronome would keep you from entering your creative state, I suspect. So, you're following creative paths that are "linear melodically" as you handle implies.
My path is focused on finding the essential underlying pulse and sync'ing up. I could follow what you do. In fact you'd probably beg me to stop so you can "get there". I'd just layer some formless cymbals shapes and roiling brush swells to help you have texture for your style.
Keep doin' your thing. I get some great joy from your harmonic inventions and could pull ideas from you
if I tried to compose something outside genres. Grabbing anything that's sound different from everything else or similar to something so great you remind me why.
@McD,I used a metronome on this as on most I do. Fell off the wagon a few times, for sure. Improvising with a click track adds another voice to the judge mental cacophony is poor musicians are bombarded with..like having a drummer!
I didn’t use the met on Requiem, one of my best efforts. Could you hear a tempo straying with it?