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The Executive Summary

Please help me choose whether to enter a music competition, and which pieces to submit. Details behind the cut. )

Thanks!

rhu: (Default)

The Executive Summary

Please help me choose whether to enter a music competition, and which pieces to submit. Details behind the cut. )

Thanks!

rhu: (Default)
This week is Shabbat Shirah, the Sabbath of Song, and as has been my custom these past few years I use this week to take stock of my music-making.

Kabbalat Shabbat is fully composed, except for the editing. Details behind a cut to keep your friends page short )

Pesukei d'Zimrah remains stalled. I'm starting to feel bad again about the prospect that it might never get performed, so once KabShab is done I hope to return to PDZ and get it rolling again.

Bible Bystanders is also stalled. That's got better prospects than PDZ, I suppose, so I should get back to it; I have some ideas that I haven't had time to flesh out. And my kids are soon going to be too old to appreciate it.

I am not singing. Well, I sing to myself, and I sometimes am shaliach tzibbur, but this year I haven't been taking voice lessons and I'm not in a chorus any more and I'm not in a small group. That sucks. Again, cut for length. )

And so, my fellow netizens, the State of Andrew's Music is mixed. I'm excited and proud about KabShab; I'm depressed about PDZ, Bystanders, and about not singing.
rhu: (Default)
This week is Shabbat Shirah, the Sabbath of Song, and as has been my custom these past few years I use this week to take stock of my music-making.

Kabbalat Shabbat is fully composed, except for the editing. Details behind a cut to keep your friends page short )

Pesukei d'Zimrah remains stalled. I'm starting to feel bad again about the prospect that it might never get performed, so once KabShab is done I hope to return to PDZ and get it rolling again.

Bible Bystanders is also stalled. That's got better prospects than PDZ, I suppose, so I should get back to it; I have some ideas that I haven't had time to flesh out. And my kids are soon going to be too old to appreciate it.

I am not singing. Well, I sing to myself, and I sometimes am shaliach tzibbur, but this year I haven't been taking voice lessons and I'm not in a chorus any more and I'm not in a small group. That sucks. Again, cut for length. )

And so, my fellow netizens, the State of Andrew's Music is mixed. I'm excited and proud about KabShab; I'm depressed about PDZ, Bystanders, and about not singing.
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Movements 22 and 23 are now up for your listening pleasure. A little progress every few days....

And I've gotten some great feedback on the Purim Puzzler. The final PDF will be posted this weekend.
rhu: (Default)
Movements 22 and 23 are now up for your listening pleasure. A little progress every few days....

And I've gotten some great feedback on the Purim Puzzler. The final PDF will be posted this weekend.

PDZ update

Mar. 11th, 2008 09:49 pm
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Two more movements posted tonight: 20 and 21.

Twenty's piano reduction is not officially done, since it's not playable by one person and a four-hand (two-piano) reduction is not generally practical. Nevertheless, it's good enough to record and post. The text is Psalm 147, and the use of a ritornello was inspired by Vivaldi's L'estro Armonico; the episodes are for soprano and bass soloists while the recurring theme is sung by the full chorus.

Twenty-one is Psalm 148, the same text that inspired our siddur cover.

PDZ update

Mar. 11th, 2008 09:49 pm
rhu: (Default)
Two more movements posted tonight: 20 and 21.

Twenty's piano reduction is not officially done, since it's not playable by one person and a four-hand (two-piano) reduction is not generally practical. Nevertheless, it's good enough to record and post. The text is Psalm 147, and the use of a ritornello was inspired by Vivaldi's L'estro Armonico; the episodes are for soprano and bass soloists while the recurring theme is sung by the full chorus.

Twenty-one is Psalm 148, the same text that inspired our siddur cover.
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I have finally posted the MP3 of the piano reduction of movement 17. (Updated status page is here, from which you can select the MP3 files)

Why did it take several days? )
rhu: (Default)
I have finally posted the MP3 of the piano reduction of movement 17. (Updated status page is here, from which you can select the MP3 files)

Why did it take several days? )
rhu: (Default)
Spent several hours today working through the piano reduction for movement 17, one of the big long ones. I have plowed my way clear through to the end of the movement, although there are still a few spots that need polishing before I'm willing to post it.
rhu: (Default)
Spent several hours today working through the piano reduction for movement 17, one of the big long ones. I have plowed my way clear through to the end of the movement, although there are still a few spots that need polishing before I'm willing to post it.
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During my lunch hour I fixed one piano reduction that had been almost complete, and recorded it and a vocal-only movement as (computer-generated) piano MP3s. The project status chart has been updated.
rhu: (Default)
During my lunch hour I fixed one piano reduction that had been almost complete, and recorded it and a vocal-only movement as (computer-generated) piano MP3s. The project status chart has been updated.
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Two weeks ago, I posted about how I was faced with the difficult chore of "decomposing" one of the movements of my setting of Pesukei d'Zimrah. I thought I should follow up with a posting that the revisions have been going really well, and aside from a few time signature issues towards the beginning of the movement I'm pretty much done with the overhaul and very pleased with the results. Still quite a bit of editorial polishing to do (Finale does not handle unusual time signatures gracefully) but I'm definitely "over the hump" on one of the hardest movements.
rhu: (Default)
Two weeks ago, I posted about how I was faced with the difficult chore of "decomposing" one of the movements of my setting of Pesukei d'Zimrah. I thought I should follow up with a posting that the revisions have been going really well, and aside from a few time signature issues towards the beginning of the movement I'm pretty much done with the overhaul and very pleased with the results. Still quite a bit of editorial polishing to do (Finale does not handle unusual time signatures gracefully) but I'm definitely "over the hump" on one of the hardest movements.

Simplify!

Feb. 18th, 2006 07:50 pm
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So I just diagrammed the structure of one of the movements of PDZ that's been giving me trouble. I have fifteen thematic elements in a movement that's 216 measures long. Perhaps that's why the middle feels unsatisfying.

And harmonically I'm spending too much time in D. There are 24 bars in e minor, 20 in a minor, but the rest are either D major, D minor, or B minor (which might as well be D). While I was going for a more through-composed feel and trying to avoid sonata allegro formulaicism in this movement, I may have overcompensated.

Sigh. The hardest part of composing is ripping out something you've been living with for a long, long time and then composing something different without slipping back into what didn't work the first time. (Come to think of it, that's also why I have a hard time composing crossword puzzles.)

Although in this case I think there's a strategy that may help: I should start by taking any thematic element that occurs only once, saving it for another piece, and seeing if one of the more prominent elements in the movement can be made to fit the affected lyrics.

Simplify!

Feb. 18th, 2006 07:50 pm
rhu: (Default)
So I just diagrammed the structure of one of the movements of PDZ that's been giving me trouble. I have fifteen thematic elements in a movement that's 216 measures long. Perhaps that's why the middle feels unsatisfying.

And harmonically I'm spending too much time in D. There are 24 bars in e minor, 20 in a minor, but the rest are either D major, D minor, or B minor (which might as well be D). While I was going for a more through-composed feel and trying to avoid sonata allegro formulaicism in this movement, I may have overcompensated.

Sigh. The hardest part of composing is ripping out something you've been living with for a long, long time and then composing something different without slipping back into what didn't work the first time. (Come to think of it, that's also why I have a hard time composing crossword puzzles.)

Although in this case I think there's a strategy that may help: I should start by taking any thematic element that occurs only once, saving it for another piece, and seeing if one of the more prominent elements in the movement can be made to fit the affected lyrics.

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Andrew M. Greene

January 2013

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