#2ndcomposition

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All 3 Compositions Finished

I have completely finished all 3 of my compositions for my product. This means that they have been completely composed, mixed and scored accordingly. These compositions will be presented on a CD disc with professionally printed artwork for the front, back and inside of the jewel case, with the corresponding scores being presented in bound booklets. Along with my contribution statement, these will be submitted in a folder labelled ‘Product’.

I am satisfied with the overall completion of the compositions, but there are some issues I would have liked to have changed been given more time. However, most problems with the mixes were solved over time.

The first composition could have sounded better if it was less ‘MIDI’. The main problem with this was that it was hard to make certain types of MIDI instruments sounds ‘real’, e.g. woodwind, brass. No matter how much EQ was applied, certain phrases of the instruments stood out. The best approach to solving this problem would be to record some real live instruments, however, it was not possible to get hold of such instrumentalists. Overall, it still sounds good and displays a great process of indeterminate composition. Although sounding ‘MIDI’ and ‘muddy’ at times, the composition turned out well.

The second composition was one of my favourites as it included live recorded instruments. The main problem with mixing this composition was that trumpet and piano don’t necessarily complement each other in a duet. Although it was not my aim to compose for two instruments that typically complement each other, this did prove unhelpful in the process of mixing. Having said this, I did manage to make both sit quite nicely in the mix with not much work being needed as the raw recordings themselves were well done. 

The third composition mixing process consisted mostly of automation and leveling. The issue with this electronic composition was that there were many ‘pops’ at the beginning and end of many samples. I went through each sample that was played throughout the piece and volume automated the lead in and lead out. I also leveled certain samples so they had more presence in the mix and weren't drowned out by some of the more loud, textural sounds.

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Here are the 10 completed miniature graphic scores that make the collective of my 2nd composition in this project. These graphic scores are the ones that were read from when recording and performing the 2nd composition. Compared to the draft graphic scores that were previously posted on this blog, I believe that these strike a more interesting characteristic of art, in which allowed for an enhancement in the performance of the composition. The decision to create these more appealing graphic scores was due to the advice I gained from contacting Dr Phillip Thomas, in which he stated 3 points: “1. does the score look inviting to play, 2. will it provoke me to do things I wouldn't necessarily do otherwise, and 3. is it going to produce significantly different results from me simply improvising”. 

The decision to compose 10 miniature graphic scores instead of one large graphic score came from the form in which they were written. I had chosen to compose my scores on A4 paper as this was most practical for this style of artwork. By composing graphic scores on A4 paper, the composition is limited to the duration of the amount of symbols that fit onto the page. Therefore, I decided to create a number of different scores and combine them to create a composition made of a collective. This direction of composing did not affect the end product but mostly likely allowed a larger creation of freedom, where each miniature could be organised to form a chosen structure of the full composition. 

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After reflecting on my graphic score composition, I have re-recorded the piano part on through MIDI and improved the performance. By using MIDI, the piano part has sounded nicer and clearer. Although I need to still mix the piece with the trumpet, I am confident that the finished product will be better then if I used my audio recorded version. 

A nice and interesting gesture of the MIDI data is how it beautifully resembles that of the actual graphic scores. 

The final mix of my graphic score composition (2nd composition) will be completed in the next coming days, and will be submitted along with the original graphic score notation. 

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I have been exporting the mixes and scores of the compositions for my appendices. Throughout my project I have practiced many of the researched techniques before applying the knowledge to the main compositions. 

The appendices will be in the form of a CD and shall consist of four short piano pieces and their corresponding scores, a short piano composition and its corresponding graphic score, and the sample map and samples from my 3rd composition.

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On Monday I recorded the piano for my graphic score. I used two Neumann U87′s, one 5 inches from the hammers on the low end, and another 5 inches from the top. I also set up a Rode NT2 1 meter above the piano, in order to capture some ambiance and natural reverb. Above is a sample of the recording.

Although the recording was nice and clear, and the articulation of the score was interesting at parts, something didn’t quite fit. The main problem was that the recording sounded very strong and heavy when compared to the trumpet. It felt that there was a large amount of low end on the piano, which the trumpet wasn’t able to compensate for. Although I originally wanted the graphic score composition to consist of complete audio, I have decided to record the piano as MIDI through an electric piano with weighted keys. This way, I will be able to mix the composition to sound clearer, whilst at the same time keeping the human and natural feel of the piano. 

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Recording Trumpet

On Sunday I recorded the trumpet for my graphic score composition. The recording ran very smoothly and I managed to capture a nice, clean sound. 

I place the player around 1 meter, slightly off axis from an RNR ribbon microphone. I placed the player off axis in order to avoid attracting too much top end and leaving the recording too bright. The RNR worked really well to precisely capture the sound of the trumpet, which was an idea I picked up from previous research.

I was impressed by the trumpeter’s precise interpretation of the scores, where he came up with an interesting style of ‘blowing air’ during his performance. However, after a meeting with my tutor, we agreed that it may have been nicer to have seen some more exciting tones and articulation being played. Perhaps the fault lies in my own composition, or maybe by not explaining to the trumpeter the eccentricity graphic scores can impose on performance. 

Despite this, the recording went well and the trumpet sounds great. I am impressed with the interpretation of the score, and for what unconventionality the trumpet part may not have, the piano part can always make up for.