#composer stuff

[meilas]

I FINISHED MY SCORE, BITCHES

[polaraxis-blog]

These woodwinds I am using right now are super glorious. They're a bit tricky to wrangle as far as volume and attack goes sometimes, but their legato sounds so good that it's worth the hassle. The staccato articulations aren't bad either, actually, I'm just so thrilled about how rad the legato is that it seems less important. 8dio makes good sample libraries.

I wish my computer could handle all the large memory loads though. I'm tempted, once I have the money to do it (probably a year or so out), to switch back to PC for audio stuff just because you can get 32 gigs of ram in a pc laptop as well as a 3.1 ghz quad core processor for about the same price as/cheaper than a mac laptop with 16 gigs of ram and a 2.8 ghz processor. I dunno how well that actually stacks up in terms of performance, but if I could run all these memory intensive samples without audio hiccups and having to use tons of workarounds, I'd be able to whip up very real sounding orchestral compositions so quickly, record without latency issues... music tech heaven, basically.

[transvestitute]

I get so disappointed when artists aren't excited to talk about art-related stuff. Like if anyone music-involved came up to me and was like HEY YOU WANNA DISCUSS THIS FOR IDEAS I'd be like HELL YEAH I DO! John Mackey responds to everything said to him on twitter, artistic-related or not. Eric Whitacre, who is a HUGE NAME in contemporary classical music, encourages young composers/fans to post their music on his facebook page. I dunno, I just get bummed when artists don't get excited about their art with other artists. Collaboration is wonderful. Especially when another artist is asking for your opinion because they respect it. 

[12-tone]

More composer geekery.

I fucking love tone rows. Like, bless you Schoenberg for this wonderful toolkit you have gifted to the world. Like what can't I do with a tone row? You can't answer that because I can do everything with these things!

Like there's this one I'm sketching through that's got these nifty little hexachordal melodies. I've got another one I sketched yesterday with fucking tetra-chordal combinatorality. I'm gonna make another one for some choral pieces. That's right yo, twelve-tone choral pieces. I cannot even try to contain this excitement. 

The row is everything I need. I'm still gonna go through my cute little tonal phase or whatever but I'm gonna be real while I'm this Webern influenced hustle. Shit gon' get cray!

[12-tone]

Piano Sonatas

Piano Sonatas are awesome. Fucking sonata form is great. It's a migraine on wheels but it's great.

Like I'm composing one now and the sketch I have for it is beast. Fucking weird ass sonata exposition in the first movement derping off to weird ass keys and shit. Fucking nocturne and lieder movements. Fucking sonata-fugue. A suite and a rondo. All sorts of metamorphosis and cyclic structures and amalgamations and dissolution and stratification, and interpolations and just just micro-architectural goodness inside of galactic macro-structures. You want a double function form? Welp, let's make all the movements into a fucking sonata-arch form because too much is never enough.

This thing is going to be massive, dense, impossible, and lovely. Like after I'm done composing it, I want to watch it try not to collapse under the weight of its own self-importance. I'm tempted to dare someone to analyze it after I'm done. But part of me realizes I couldn't wish that on anyone. A very small insignificant part of me.