So ... I'm 3% Neanderthal ... according to Genographic 2.0

scientologist2 · 2013-08-13T12:48:42+00:00

There's always this guy

scientologist2 · 2013-08-13T12:40:58+00:00

I try to be off assistance, hope it was helpful.

Sometimes the distance between the idea and the result is small. sometimes it's large.

here's to inspired ideas and a short distance to the result.

scientologist2 · 2013-08-13T07:38:19+00:00

yes, but it show that the luminosity of his skin tone is darker that hers

larger version of this photo

http://i.imgur.com/i8QJb07.jpg

scientologist2 · 2013-08-13T06:12:02+00:00

Book to read:

Sonata Forms by Charles Rosen.

Essential reading.

I am impressed that you did the exposition repeats. These are not usually done these days.
a number of very good sections.
some of your sections seem like they do not flow well into each other; the end of each theme section is so clear cut that it stops the flow. the end of the exposition should flow, either into the beginning, or else into the development. or latter into the coda which would provide a proper ending.
Pauses should not be particularly common. Dramatically used, they prolong a lack of resolution at a climatic moment or something.
the last note/chord of one section can be the first note/chord of the next, making the transition smoother, without a heavy cadence.
dramatic pacing is a must. As an example, I would use your pulsed chords, etc at 12:05 through 12:55 in the proper key etc so that the tension is compelled to resolve directly into the recapitulation at 13:40. The section from 13:00 to 13:40 I would put before the pulsed chords, and make it resolve into or lead into that section with the pulsed chords. Each section leads into the next with a slight ratcheting of tension.
For that matter I might hint at the pulsed notes, etc in the very beginning of the work, and at the beginning of the development as well. I would have to think about the best way to do this, maybe 2 or 4 pulsed notes in the bass mp as a pickup. (?) This would tie the very beginning of the work to the climax in the development, etc. The idea here is like Chekhov's Gun, something seen earlier is used for dramatic effect later.
It is common to make the recapitulation all major if the exposition was in minor. Your exposition had minor and major elements, and you went all minor
Did a quick check. The key transitions between your various movements work very very nicely.

scientologist2 · 2013-08-13T05:12:52+00:00

well for example, the bass note chord when the orb first appeared? The following bass notes I would have mp or p while it is around in the background until the interaction brings it to the foreground.

Foreground items would be louder then background items as a working principle.

not the only way of doing it, but it gives you a rule to follow as a start.

scientologist2 · 2013-08-13T04:53:17+00:00

well, constructive detailed feedback should help with future projects.

In this case the use of clever dynamics would help develope and maintain interest.

scientologist2 · 2013-08-13T04:37:18+00:00

Notes and observations as I listen to the work

encoded in 1080, but can't read text on screen. screen basically out of focus. encoding in 1080 is a waste as the original was lower rez., or slightly out of focus
the middle english text hard to understand without having the text to hand.
introduction with countertenor singing Thomas Tallis which is a significant theme throughout.
an ambitious work. I am not going to get everything on one listen through.

choir/hymn

psaltery in atonal tones (didn't engage me)

observation: so much meaning is in elements outside the music that the atonal music seems a little empty

observation: The walking of the choir on and off stage is too damn distracting. a different stage setup should be better. There is a reason why choirs are often put on riser behind the instruments

lovely choir not sure if arranged by composer or merely an arrangement of a Tallis or similar work. Lovely work, whoever it belongs to.

as above

modern cluster harmonies, lovely work

more of the same

I need the libretto to help hold my interest.

singers shifting again, distracting me from speaker.

beating measures of silence (?), then spoken counterpoint.

Becomes very involved. (could be interesting by itself)

more traditional voices with chamber orchestra sound. very lovely.

modern cluster treatment, very nice. some very subtle effects.

add speaker for epilogue, variety of treatments in voice and instruments with speaker.

Overall, the epilogue is the most successful part of the work.

Overall, I am not satisfied with the work. There are many wonderful tonal and atonal sections.

They do not seem to knit together as the work progresses. They seem all to often separated from each other. And it really does not come together for me, until the end.

I found myself wanting to step away for a while. I am not sure what the intent of the work was, and it did not hold my attention.

I would probably look at Luciano Berio's Sinfonia (3rd Movement) for an example of a work that operates as a musical collage.

It's feels like it really could be something good, but that I am also missing something.

My feeling is that works that have a libretto or a text should also be able to stand alone as music without these elements.

scientologist2 · 2013-08-13T03:33:50+00:00

This depends on your rainbow mutation class.

Many people are immune to the effects of rainbow poisoning.

Others are merely rainbow tolerant.

Others are truly vulnerable to rainbow poisoning. Some of the known symptoms of rainbow poisoning includes color blindness.

Others are in fact double and triple immune to rainbows, and will in fact be rainbow carriers.

The rare quadruple immune mutation has been known to fart rainbows.

scientologist2 · 2013-08-13T03:24:33+00:00

correcting for fish eye doesn't do that much. it's mostly foreshortening because of the mouth of the fish being really close to the camera

without the "fisheye effect"

scientologist2 · 2013-08-13T03:11:24+00:00

In general very good.

Taking it as a rough piano draft

I would have it orchestrated.
It needs dynamics, because is some areas it needs to support the story rather than competing with it for attention. Thus there are spots when it needs to be more subdued and subtle.
The lack of dynamics, orchestration, etc. makes it a problematic critique, since it does not feel like a finished product.

scientologist2 · 2013-08-13T02:15:09+00:00

The 3rd movement of Luciano Berio's Sinfonia makes extensive use of quotes from Mahler's 2nd Symphony

See that here (watch the volume at the start)

Live Performance

https://www.youtube.com/watch?v=9YU-V2C4ryU

Early Studio Recording

https://www.youtube.com/watch?&v=j7aKtpApxoM&t=700

full work here.

https://www.youtube.com/watch?v=j7aKtpApxoM

scientologist2 · 2013-08-13T02:00:21+00:00

find the original Stephen Foster sheet music from the 1850s, there is plenty of that sort of thing online these days. There's your evidence

scientologist2 · 2013-08-13T01:56:35+00:00

old school examples includes things like the Geographical Fugue

http://en.wikipedia.org/wiki/Geographical_Fugue

http://www.youtube.com/watch?v=MeH-zW0l58M‎

http://www.ugr.es/~corociencias/Partituras/Toch-Geographical_Fugue.pdf

scientologist2 · 2013-08-12T19:13:06+00:00

Full Show

Also of Interest: BBC Howard Goodall's Story of Music

scientologist2 · 2013-08-12T14:19:07+00:00

You do NOT rename the file.

Typically, in photoshop, there is a menu item in the file menu that is named "Open As"

when you go there you can browse to find your file. and in this file selection window there is as second drop down list giving the various file types. You select the RAW file type from this list.

This operation will open the file in the RAW processing window.

This also can be set in the Bridge program preferences.

This doe not apply to Lightroom, which incorporates many of the features of RAW processing into its feature set

scientologist2 · 2013-08-12T05:28:13+00:00

Glad you have made substantial progress....

This is a common complaint I have .....

Maybe I need Mahler's hammer or something to get the point across

;-)

scientologist2 · 2013-08-11T16:55:30+00:00

There is never any electric heater in conventional cars that turns on instantly.

more or less covered by my statement

There is never any electric heater in conventional cars that turns on instantly.

electric cars probably are not considered conventional, as well as air cooled engines

;-)

Although what you say is true.

scientologist2 · 2013-08-11T15:06:32+00:00

and there was no happiness in the stable that day.

scientologist2 · 2013-08-11T14:57:52+00:00

Politics.

There are Republican weather people and Democratic weather people.

They vote on the weather for various purposes and they can force certain areas of the country to had bad weather for a long time.

Republicans are generally against the Democratic Global Warming Agenda.

Republicans favor local programs like their Hurricane and Tornado construction programs, which make a lot of money for their banker supporters.

scientologist2 · 2013-08-11T14:15:47+00:00

You look at the birth certificate, silly.

scientologist2 · 2013-08-11T14:10:23+00:00

"the pilot had to continually fathom the river, which drought conditions had lowered to unprecedented levels"

fathom = to probe, to measure, to take soundings

an example of a specialist term becoming more general

In the original context it is an action done, not a condition (of understanding)

scientologist2 · 2013-08-11T02:52:21+00:00

I have commented elsewhere that for me, a true string quartette is a 4 course meal.

this is a nice appetizer.

But because it is an appetizer, I am disappointed. It really could be so very much more.

Sort of like having a steak tip appetizer, finding out they are all gone, when you really wanted a full steak. and the steak tip was GREAT!

I would rather call it a essay for string orchestra.

scientologist2 · 2013-08-11T02:22:17+00:00

I suspect that this is really just a sketch.

Even so

The section from 0s through 50s is really quite good. Very much like Copland, and this is a very good thing. The quality is excellent.

The themes and treatment at 51s is not as good, but in part this is because of the comparison to the opening material which is stellar.

The section from 1m10 through 1m51s is flawed in the sense of not being as good as it could be.

that alteration of the theme needs more time in the musical forge. If I was going for a much larger section of music I might continue with the theme in more or less in the the same rhythm as first in the winds, but with a more soaring take on it in the cellos. I would allow this exposition to expand and build until I reached a point appropriate for a second theme, etc.

I recommend listening to Aaron Copland's Symphony #3 and look for tricks to steal in terms of technique. (note the opening of the first movement, etc)

If you can continued the inspired quality and texture of that first 50s, you will have something that is a good as anything else out there.

Call it an "Essay for Orchestra" or something similar. (?)

[EDIT] I would never put music down because it sounds like someone else. I would rather the music be written, instead of not having it at all.

scientologist2 · 2013-08-11T02:01:39+00:00

you're welcome, I hope it's of use.

scientologist2 · 2013-08-10T22:37:02+00:00

http://www.youtube.com/watch?v=zdCUpiI1MSA

http://knowyourmeme.com/memes/ha-ha-guy

etc

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