Entries in composition (12)

Sunday
28Feb2010

De Profundis by Frederic Rzewski for piano and voice (Oscar Wilde, Lisa Moore)

Frederic RzewskiI suspect the microphone you see in front of Lisa isn’t turned on, as the voice part is barely audible.

My discovery of Rzewski’s (zheff-skee) music is thanks to Sarah Cahill’s radio program Then and Now on KALW. I’ve included my own archive recording of this piece because the video above has improperly recorded audio, and I consider this work to be very important. It is a piece by a living composer, played by a wonderful performer, incorporating passages of a work of tragic literature by a noted historical figure.

Demands on the pianist include speaking, whistling, laughing, humming, sighing, moaning, whispering, snapping, slapping, and the use of a bicycle horn. Present in the work is a fluency in many genres and techniques — including fugue, impressionism, post-romanticism and poly-tonality — all serving to illustrate and highlight the text. Also quite effective is the combination of finger drumming on the keyboard lid, shaking and hitting the piano, and whispering, during passages where Wilde addresses his vivid memories of time spent with “Bosie.”

 

 

Lisa Moore

Oscar Wilde

Thursday
06Aug2009

Mirages - Improvised Compositions in Real Time - track 13

Mirages – Audio CD

Improvised Compositions in Real Time by Richard Walker Performed live on a Kurzweil PC88-mx synthesizer

 

This track doesn’t sound like an improvisation, but trust me, it is. It takes too liong to end given its length, for example.

Still, it has all the elements: theme, harmony, progression, variation.

 

 

Richard Walker - Mirages_13_v4

Thursday
06Aug2009

Arabesques & Lucid Dreams - Improvised Compositions in Real Time - track XX

Arabesques & Lucid Dreams – Audio CD

Improvised Compositions in Real Time by Richard Walker Performed live on a Kurzweil PC88-mx synthesizer

Track XX is so titled because of a track numbering confusion. Who cares, really? The gist is this: more fun with the “built-in” synthesizer delay. In addition to other benefits, I find using a delay helps you keep strict(er) time - without the use of a metronome.

 

Richard Walker - Arabesques_XX_v4

Thursday
06Aug2009

One Hundred Two and One Half - suite for piano (not yet)

 

One Hundred Two and ½ - Suite for Piano - for 88 keys, 8 fingers, 2 thumbs, 2 feet and 2½ pedals

N.B.  “2½ pedals” refers to the damper, the soft pedal, and the grand piano’s sostenuto pedal.

This piece hasn’t gotten beyond the concept phase, but it did already yield some good improvisation.

In addition it helped me think a little differently when trying to work out a musical dialect. There isn’t so much one scale here, it’s more like one scale per chord. So passages that cross chords need to “modulate” to another scale for the duration of the chord.

Due to the symmetrical nature of the octatonic scale, this is not too hard.

There are really only 6 octatonic scales, 3 being different only in whether you start with a half or whole step. The octatonic scale is 4 pairs of [half step, whole step] or [whole step, half step].

As a practical matter, the 6-note sub-classes can be treated as 2 grouips of 3, one for each hand. This technique makes these scales surprisingly easy to play. Also, the scales really become extended harmony chords themselves, and end up blurring the answer to “what is a chord vs. what is a scale?”

You can hear some of that applied to the keyboard in the enclosed audio.

 

 

Richard Walker - Improv - 102OneHalf_20020927_Track_02

Tuesday
04Aug2009

Dissonant Counterpoint (on a Cantata by J.S. Bach)