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End Of Days (Part 3)
All of the music in this piece was composed by @McD. It consists of his latest StaffPad Sketch, 1833, and 9 other Sketches that he shared with me over the years. I adding nothing of my own and didn't change anything. I just arranged them on a timeline in a way that I thought sounded good. Parts overlap and create something entirely new and different. I only adjusted volumes, did a few subtle fades, added a bit of compression, and tweaked the EQ to highlight some of the themes.
This is the last of my 'End Of Days' debacle. Part 1 was the big explosion. Part 2 was cleaning up the mess. Part 3 is adjusting to the new normal. I will now go back to my corner and be quiet... for a while.
Comments
@Paulieworld told me that the layering of music reminds him of the innovative musical ideas of Charles Ives.
Anyone else having that thought.
I haven’t listened just yet…
I’ve got a sample from some movie that says, “the thing about end of days, it never fkng is.” I think it was from predators.
Anyway… this is lovely. Reminds me of twilight zone. Similar score sound. Really impressed.
I think this 3rd Part might be better as #2 or even #1 depending on the story you’re intending. It’s not the closer in my thinking
but I know you wanted to do a collab and added it here. Maybe change this one to a standalone and create a heavy sounding Part 3 that finished with standing ovations from the crowd.
Musically, it’s pretty awesome top hear music created over many months merged to wake up memories from each creation:
like the drumline section or the really fast plucked metal string section, etc.
I recommend others message you to try a collab.
I do like how this one evolves. The busy layers at the beginning feel like the difficult part of rebuilding . As it progresses there is still a sense of urgency, but by stripping away the layers it feels like a return to normal, or at least whatever normal is at the End of Days. Good work, both you and McD.
Thanks for the listen and useful comment.
I looked at the project briefly this morning on my way out the door. As I mentioned earlier, 1833 runs for the entire length. It opens with a layer of Koi Pond. I thought the two of them together created something new. Synergy? After 8 or 16 bars, I added Blossoms on the Stream and another track which I can't recall. Those three layers created a strong nervous tension to my ears. After that I dropped in Bazaar Intrigue. I liked the plucked bass sound. After about 8 bars I added something with "Mission" in the title. There were 2 tracks with that in common. That third layer added what sounded like a tympani. Those three built up in intensity until something that sounded like a mandolin came in. It sounded like gypsy travelers dancing around a campfire. The mandolin starts going crazy until it abruptly stops, leaving only 1833 in the background. That's my favorite part. A few bars later I dropped in Regrets and the other "Mission" track. One of those had a sound that overpowered everything else, like feedback. I tried to compress it out, but lost some of the nice melodic theme in the process. I was going to boost it with a MIDI track to make that melody come out more, but that would have been against the "rules". This is a good case for working with stems. It would have been a quick fix. Oh well.
Regarding the order of the three parts, you could reverse them and it would still make sense. One way is optimistic, and the other is more pessimistic. In either case, we still made a mess of things. Part 2 must always be in the middle, though. It only has one explosion. I had hoped #3 would get a little more attention, but I guess people were getting bored with the whole thing. #1 is doing better than I expected. People like loud distorted guitars and explosions, so not really a surprise.
I've noticed that much of your material seems to work well together. That is, key and tempo blend nicely across multiple tracks. Is that intentional or serendipity? You might want to consider bundling up a bunch of random tracks to create DIY music-making kits for others to try. Just a thought!
It's insanely hot here in Chiraq. Stay cool.
@Paulieworld asks “ I've noticed that much of your material seems to work well together. That is, key and tempo blend nicely across multiple tracks. Is that intentional or serendipity?”
I hate having to add sharps or flats using the pencil… I suppose I could pick a key signature and actually leave A minor or C major or one of the modes using all the white notes. So laying multiple pieces that all avoid “accidentals” (#’s and b’s) tend to making them clash less. You have exposed a bad habit… thanks. I guess being lazy qualifies as intentional but you layering them mixes in healthy doses of serendipity.
Thanks for doing this and reminding me that key signatures would mix it up real good and make your job harder. I’ll start
picking keys that are 1/2 step apart… no promises. I’ll probably get 1/2 way done without sharps or flats implied in the key signature again. Habits are hard to break at this age.
@McD It's not a bad habit. It's probably the same reason I never got heavy into StaffPad. I got impatient with the Apple Pencil and recognition. I also figured nobody would ever be reading my scores, so why bother. The piano roll does the same thing in the long run. All I need to know is which line is middle C. That's not even necessary. If you have a system that works, don't change it without a good reason.
I first noticed it when I was putting together that first Sketchbook. I was thinking, this is really cool. Hmmm... I'll try this one with that one. It didn't always work, but mostly it did. I don't think that keys have "personalities". They are all the same to me. Musical purist heads will explode at that thought. No problem. Until somebody offers me some money... STFU.
Give it a try. You have a goldmine of material to work with. You wrote it. You own it. Do what thou wilt!