new one: "Temps PERDU"

[D.H. Miltz]

I enjoyed this. Thanks, jancivil.

[seismic1]

For me it is music that 'demands' to be listened too, not really suited to being in the background while you make a cup of tea

Exactly!

[jancivil]

quite an exploration

For me it is music that 'demands' to be listened too, not really suited to being in the background while you make a cup of tea

liked the way the motifs helped connect across the different parts

thank you, I'm glad that comes thru.

I listen to music, I don't have it on for background. I have to set aside the time to hear other music, I am pre-occupied with ideas.


I heard from another composer that likes piccolo and 'hears high', saying they have to transpose shit down an octave or two so something travels...
I'm gwyne enjoy it while I can still hear it.

[stanlea]

That's really the kind of music I dig. Did you use Reaktor ?

[jancivil]

yes, I used Reaktor Spark for the offending parts and there are two other parts that use it (Steampipe basically), Reaktor has lately become a real go-to.

thank you, and thank you DH and Trimph as well.

[jancivil]

so, gave it a better mix, missing the overdrive guitar in the opening, with it it gels better.

oh, thank you seismo as well.

[any1particular]

Wow! what an interesting piece-fascinating. It does have that Frank Zappa edgy/ frantic/smart vibe to it.

I really enjoyed this.

Would you mind sharing the instrumentation on this Jan?

Trumpet/bass etc etc?

[jancivil]

the main lead instruments (the one in particular is irritating (and last night bothered the shit out of me; there are things which if you aren't hearing them right have undertones that are just out) are Reaktor Spark, and I'm using controllers for more or less harmonics in various ways. they're polyphonic so they do double and triple duty. primarily they function as piccolo flute and flute, but below that they suggest clarinet, brass and stuff.

if you caught since my latest update, there is piccolo and flute via samples reinforcing the synths, with minimal variance.

Bb trumpet (in classical orchestras C trumpet is prevalent particularly in some areas), and flugelhorn are the more noticable acoustic insts;
clarinet, and bass clarinet (Bb);
there is a pretty sparse trumpet with Harmon mute;
Trombone and bass trombone;
bass saxophone.
E bass, here it's Jay Bass by Scarbee.

percussion. a real oddball kit in BFD2. the cymbals are BFD from various libs and VSL Percussion. The big china crashes are mostly the latter. while geared for orchestra people, they include a LOT of things that are apt for rock.

there are 2 synth parts that are also Reaktor, using 'Steampipe'. One uses portamento and does a couple of things, from the kind of minimoog glide to a more realistic trombone slide or string gliss... the other is a fast plucked attack with a LOT of harmonics, you might call it noise, in the decay/sustain.
there is a fat Trilian bass synth for more cheese filling.

I started with all synths. at the beginning of this thing I used an Absynth patch, that appears in the other parts of the 'suite', that is designed to modulate (in electronic and harmony terms) and give a lot of action off of minimal input. I made a ground in that, all the way through, which determined the areas harmonically... and threw some lines over that, made a great mess and went to make sense out of it, with me it means opening up the time, stretching things, inserting areas of empty time...

Now I'm trying to orchestrate it, there are problems with resonances and stuff, matching different character...
I'm well sick of the thing but not done.

[jancivil]

so, I'm nearing the finish line with this turkey.

the original opening is just... fraudulent. It doesn't have anything to do with anything afaict.

I put a half a minute of pedal tones leading into it but it won't help it that much.
but it's a killer sound, the double bass section from hell.

now the fraudulent promise of that intro is very rockified so it seems like a better argument than it did, but I know better. it portends stuff it never delivers.

but it sets up what follows in its own weird way. this is an example of no planning, but what are you gwyne do, I improvise and stick with it...

[jancivil]

so I finally orchestrated this thing. went with more fraudulent grandeur. strings. new portentous intro...




The Lost Time


this took forever, making the title have new meaning.

[liqih]

sounds like lot of work went into this, I really like the overtones parts before the ending at 2:20 2:40, even though at 1:00 to 1:20 the theme seems to promise more than that. But it's poetry anyway

[jancivil]

thanks

a truly stupid amount of work went into this.

the red herring there at around one minute is a result of building the arrangement, adding parts. at a certain point that, orchestration, influences the composition to this kind of extent.

I kind of would have liked to make it pay off in a regular manner eventually, but the enigmatic ending had a logic I liked for an ending.

[jancivil]

it's poetry anyway

right, it isn't rhetorical, the grammar doesn't have to work right.

If I were a young composer presenting this to academia, that bit would tend to be a real demerit.

[seismic1]

I've been meaning to revisit this for a while now, but I had a few really late nights at the office recently. I'll try to listen to the entire suite (with volume) on Sunday. First impressions are good, but this is definitely a less "edgy" version that the original Temps Perdu and has a much mellower feel iirc. Catch you later.

[jancivil]

interesting. I never thought of it as very edgy but about as conservative as I get. there was the one thing about some highs but I didn't lose 'em. the ending before that coda gesture has a sharp cheddar flavor...

I wonder if the orchestration takes it into that area; I always heard it that way, it's the same object for me.