I was very impressed when I heard that door knock in the library, and at the time I didn't know who's that, but I shortly organised a household checklist- I knew immediately what had happened.
It was one of the earliest message reached me. I will say under that circumstance, what an effort and intelligence to reach me from anyone !! so that I'm sure to answer any I have heard . It was also such an super natural assistance from the god, that I dreamed my friend Grace, and slap on her face. And the second day there was a new opera star promoted by Oprah Winfrey. Shortly before the news of Sutherland.
I very much would like to comment on a version of a second singer. As I believe they are way too accomplished to need my advice. In fact, I will say that may virtually be technically the best trained among the flock, that's singing a composition of technically best/ professionally trained- from the instrument used etc. Yet in such case, a better singer really means a truly well accomplished artist. It actually took lives of some of them.
That song is brilliant I think, it's sober, and should have a lot more capacity for a good performer to explore. On top of the well-educated technique and general rules of music, that means a true artist, that probably only artist could comment on. Yet the fact is the charging emotional disturbance has replaced the sober tone and sensitive nuances.
Although I would rather to fully express the original music that has fully expressed in composition( that is so fully expressed, so that even a discount stand out - which is not satisfying result). A second thing is I notice the orchestral accompany, and wonder if it was originally written in such a version that's not economical !
Although I believe a well trained contemporary/classical composer would like to master the largest texture, to turn that into real sound means finance. So inevitably, therefore only two choice, either it's not heard, or be sponsored in a way to deprive the copyright. In fact, in many copyright law,the state own the copyright in a state commissioned art piece. Equally, lot private/ corporate own copyright through sponsorship. Such finance determines the independence of art. Of course,it would be very lucky to have an understanding sponsor that's generally support real art, but in really such orchestral structure, does open an opportunity to the opposite. So that my first suggestion is, if that piece has been written for one's own , it's better to choose texture of less instrument and to explore the effect to the biggest. That is economical, and that's decided by finance and legacy- these are realistic issues.
Now that as laws and legacy concerned, I do suggest that we check the original law acts instead of receiving interpreted version from so called Australian Copyright Council, and there's also another independent organisation that charges fees to audience in general public. As I found same suggestion on that "copyright council" wasn't actually in the official law act. And there's no basis and obligations for an independent organisation to accept fees outside legacy compliance.
Following this piece alone, has aroused one concern of me. We may see the possibility , that the commissioned (by state or private person) copyright legacy comes only after the composition , but before the performance, ( that means it's not a commissioned work as contracted from beginning) .And during the process of turning scores into real sounds, such legacy demonstrates the occupation of commissioned copyright, and take additional composition as part of the commissioned work.
A special mention of " Albano" may related with Albury. And the inner development of this piece really pushes forward inevitably a real artist . Albury Choral Society was involved in a legacy with Sutherland month before her death.
Therefore some possible details we should notice:
1> The demonstration videos of performance dated in 2008( even though could be a lie) . Sutherland signed the legacy of Albury in 2010, month before her death. So how this legacy of 2010 is to be legally effective back dated, cover video demonstrated in 2008 .
2> The sponsorship concerned in such legacy, indicates the accountable party of interest. And if it involves in a state related commission work and program, then there's accountable political party or figure.
Well back to the music itself - The sound track. The pattern of timpani, and I think it very creative as basic pattern of chords and effective especially when apply to sound track according to the pace of film, when all one need to do is to sound right on time of "events" . And certainly, a timpani is simple enough to be both effective and receptive. Truly less people would think of handling timpani of four notes as the main structure- of both rhythm and harmony.
Because of such nature of a film sound track, when we listen to the music alone, it may not satisfy and maintain the intensity of music , as its pace set by film. This is not the problem of music itself, but where the music is to be used. As the timpani has provided such unique structure I wonder if you are interested in further developed such section into a piece that dedicates to the torrent river.
The simplicity of timpani can be very effective in short time ( in film ), but as music itself, such acoustics may limit its potential(lack of material) for further development. Where I suggest you to fully use the potential of trumpets. Eliminate the strings part, which in inner parts as melody indicates ghost like uncertainty and is also creative. But financially, why should we pay extra 40 strings just for them to sleep in the inner part to get enough cash ? ( and I think that's also the trick of financial space funding an art project by government) I think that could be effectively replaced by two trumpets, if we are able to develop the full capacity of trumpet. As even in orchestral music, strings are often muted by brass in summit of intensity. The financial cost is 40 vs 2.
And to find out if trumpets has the capacity of a dimmer colour, I actually searched through YouTube, and I suggest in such way you may find raw sound materials that close to your imagination. And I believe they can, if muted, and play in low register in flats. (The lowest range of a trumpet reach F-A, and the range of C1- G1 would be effectively dim I think, and you may listen and double check ) But compare to the string version, such arrangement has a full potentiality as music develops to support further intensity when mute is removed to sound fully. And now it's used less than half yet.
And the door knocking, is symbolically very clear. I hope in such piece it can be more dramatic. Either, as a composer you may demand the performer , or you may check out which drum is better, a snare drum , or bass drum. As bass drum provide a much heavier resonance, in such way may be more powerful. ( oh by the way, I found a snare drum solo performance. I think it creative. Yes , you may find demonstrative sound materials before your arrangement)
A third concern, is that as I can feel your background in contemporary music composition. In fact, the trouble of professional sector musicians are sometimes too career or money focused, so it makes harder for a composer to organise a group without enough finance support and everyone is busy either for their career or extra cash, and not too much chance left for the rest. So it's comparatively harder for composer in such sector to change score into real sound compare to a pop band, which despite insufficiency in training, would generally have lots enthusiasm to support alone, and people may band much easier without cash.
So I do think to further work on percussion and brass may be a very good choice for you, both economically and musically. As you can equally find lots jazz brass players, trumpets trombone, or tuba. As jazz players may more likely to play for the fun of music compare to classical players, and in such sector they do have enough technique skills that support your potentiality of music. And many jazz players do have classical background as well. And more over, less girls. Even a girl that plays brass well usually have boy like figure or disposition, or they just can't . And most percussion, I bet you they will be bored without new pieces, think of they only need to play four notes in each piece!!! ;) In fact, even in a classical repertoire sector, there's a lot need for new compositions written to these instruments. And such combination is enough to make your music intense , powerful and unique ( a unique flavour of intensity and logical balance is found in you) . I believe you will be very interested in exploring the capacity in these sections. I'm excited too :)
Again I suggest you to stick to a smaller size of ensembles, so as have more chance to hear the composition, such experience would be very beneficial . An orchestral music would be a lot more easier after each section fully and efficiently explored and heard , when condition is finally mature and necessary for it.
You may also do more sound tracks, as I found it practically interesting , and you will have audience.
The first half of the music I have no further suggestion on alteration, but for you to choose if you are going to keep it. As it sounds story telling that suits a film that is more legendary and heroically positive somehow. You may think it twice ha...
Sunday, April 24, 2011
Monday, April 11, 2011
Easter Theme
That music about the death and rise of some "saint", in general, I would not comment. As these people are too highly achived to need any advice from me.
So in fact, I'm looking forward for someone to learn from the champion and make your performance . And you will certainly be criticised !! :)
Basically, as I said, I wish to try the colour a bit darker than it is. And move the key two notes down to f minor - A flat system. I said this because I cannot be certain if it's a minor or major key in this version.
The very popular sweet voice is generally from soprano range, and a vocal range again as I said, means effective range of expression. I don't believe she's a contralto at all. But her intonation is good. That I repeatedly stress people to get.
So in fact, I'm looking forward for someone to learn from the champion and make your performance . And you will certainly be criticised !! :)
Basically, as I said, I wish to try the colour a bit darker than it is. And move the key two notes down to f minor - A flat system. I said this because I cannot be certain if it's a minor or major key in this version.
The very popular sweet voice is generally from soprano range, and a vocal range again as I said, means effective range of expression. I don't believe she's a contralto at all. But her intonation is good. That I repeatedly stress people to get.
Careless Care
This is too, a composition with definite ideas. And with such young age of the composer, it's already a high achiever, with refined simplicity.
The music is about past memory of love. The picture of memory like "putting arm around you" is love in its youth, and of such purity of a teenager. And I would certainly like to maintain such character that belong to the composer.
Yet, as memory drawn closer, some moments of intrigue are recalled. Such moments suggested hidden story, that the composer would not like to mention further. Such expression mean to be implicit, however, to the extend of certain obscurity in music itself ( unexpressed ), so that as the music develops, as the lens of memory drawn closer and clearer, it's not satisfied.
So despite the overall satisfying effect of the original music arrangement, further study the content of the lyrics, may arouse a willingness to explore such intrigue itself with music. If the composer wish to, within the frame of implicit nature.
The sections of repeated melodic line hasn't too many variations, in the composition , however, it's development is fully supported by guitar part, which I appreciate as a conscious arrangement from a young composer, refined and effective, and well tailored to suit himself.
My suggestion to current version itself, is to handle a little bit more on the repeated part of " Careless" and "careful" twice. They may need certain degree of variation in melody line, and can add certain kind of tensed emotion. And I hope these two words can be heard in music of both times, as of definite expression.
If I were to handle them, I may handle the twice also of different meaning. With the first time, "careless" implicates, certain blame, and "careful" tolerance . With the second time, "careful" more implication of blame than "careless". Here is where the lyric stops, however , emotional has been push up to the summit, then I would like to add up your guitar solo, at least twice or three times of current length, like ebbing emotion that gradually draw further from memory. Current ending I feel somewhat abrupt.
For the performance, I certainly enjoy the guitar part, and hope you also develop it as your strength, so that's why I suggest adding more guitar solo at the end . The arrangement of guitar part, is the full support of development of the music, which I think effective and simple, and it's tailored to compensate the limitation in your vocal.
Vocally, you need more training, despite you have a very naturally expressive voice, it lack the capacity of strength according to further development of music. So your vocal expression is limited by technique, so I assume that your composition would certainly be taken frequently. However, as you can sing, you can certainly sing better.
So apart from certain alteration I suggested in composition in key spot, I suggest a good focus on performance.
The vocal range is certainly of your best, so your talent itself is expressive. When we talk about vocal range, we certainly talk about range of effective expression, here even a trained female voice cannot replace.
But you certainly need more breathing exercises, more diaphragm support , more physical exercises to build useful muscles, and increase your lung capacity so that later your voice will have more capacity of expression.
We should learn from those "celebrity" singers, as what they can do is technically hard to be criticised. So that I do suggest you to achieve a perfect pitch as well, despite I cannot spot in this recording any definite tone is out of tune, but I wish you to be more conscious. And practice scales every day.
There's also something can be picked in your performance- you unconscious speeding. In fact, I'm very happy with the opening tempo ,as it's expressive, but as music goes, you unconsciously speed up.
A second thing, is certain rubato from you, is not based on strict beats. This phenomenon, is usually happen in talent young performers. And I , myself , also have such problem when I was young. However , you need to trim your frame. You need to firstly count very beat and even half beat very precise, then later on to feel the beat. Then you will develop a sense of impulse within music itself. Then that is "rubato" of real music meaning, that means your rhythm will truly carry your music as a vehicle. I hope this will also be included in your guitar study. I would suggest you to study music before Classical, like Mozart and Bach . As I wonder the repertoire in popular music wouldn't be able to give enough education on rhythm.
So in performance, I would suggest you have definite target with both vocal, and your guitar. With your vocal , build up the physical capability, and basic vocal technique, intonation. While in guitar, you may play tunes that needs strict rhythm. You may also train with help of metron and tuner.
And certainly, another way to improve your current version, is to develop your performance. Sometimes, it's regretful, that talent youth often lack of training, while well trained celebrities often as mechanical as robot.
The music is about past memory of love. The picture of memory like "putting arm around you" is love in its youth, and of such purity of a teenager. And I would certainly like to maintain such character that belong to the composer.
Yet, as memory drawn closer, some moments of intrigue are recalled. Such moments suggested hidden story, that the composer would not like to mention further. Such expression mean to be implicit, however, to the extend of certain obscurity in music itself ( unexpressed ), so that as the music develops, as the lens of memory drawn closer and clearer, it's not satisfied.
So despite the overall satisfying effect of the original music arrangement, further study the content of the lyrics, may arouse a willingness to explore such intrigue itself with music. If the composer wish to, within the frame of implicit nature.
The sections of repeated melodic line hasn't too many variations, in the composition , however, it's development is fully supported by guitar part, which I appreciate as a conscious arrangement from a young composer, refined and effective, and well tailored to suit himself.
My suggestion to current version itself, is to handle a little bit more on the repeated part of " Careless" and "careful" twice. They may need certain degree of variation in melody line, and can add certain kind of tensed emotion. And I hope these two words can be heard in music of both times, as of definite expression.
If I were to handle them, I may handle the twice also of different meaning. With the first time, "careless" implicates, certain blame, and "careful" tolerance . With the second time, "careful" more implication of blame than "careless". Here is where the lyric stops, however , emotional has been push up to the summit, then I would like to add up your guitar solo, at least twice or three times of current length, like ebbing emotion that gradually draw further from memory. Current ending I feel somewhat abrupt.
For the performance, I certainly enjoy the guitar part, and hope you also develop it as your strength, so that's why I suggest adding more guitar solo at the end . The arrangement of guitar part, is the full support of development of the music, which I think effective and simple, and it's tailored to compensate the limitation in your vocal.
Vocally, you need more training, despite you have a very naturally expressive voice, it lack the capacity of strength according to further development of music. So your vocal expression is limited by technique, so I assume that your composition would certainly be taken frequently. However, as you can sing, you can certainly sing better.
So apart from certain alteration I suggested in composition in key spot, I suggest a good focus on performance.
The vocal range is certainly of your best, so your talent itself is expressive. When we talk about vocal range, we certainly talk about range of effective expression, here even a trained female voice cannot replace.
But you certainly need more breathing exercises, more diaphragm support , more physical exercises to build useful muscles, and increase your lung capacity so that later your voice will have more capacity of expression.
We should learn from those "celebrity" singers, as what they can do is technically hard to be criticised. So that I do suggest you to achieve a perfect pitch as well, despite I cannot spot in this recording any definite tone is out of tune, but I wish you to be more conscious. And practice scales every day.
There's also something can be picked in your performance- you unconscious speeding. In fact, I'm very happy with the opening tempo ,as it's expressive, but as music goes, you unconsciously speed up.
A second thing, is certain rubato from you, is not based on strict beats. This phenomenon, is usually happen in talent young performers. And I , myself , also have such problem when I was young. However , you need to trim your frame. You need to firstly count very beat and even half beat very precise, then later on to feel the beat. Then you will develop a sense of impulse within music itself. Then that is "rubato" of real music meaning, that means your rhythm will truly carry your music as a vehicle. I hope this will also be included in your guitar study. I would suggest you to study music before Classical, like Mozart and Bach . As I wonder the repertoire in popular music wouldn't be able to give enough education on rhythm.
So in performance, I would suggest you have definite target with both vocal, and your guitar. With your vocal , build up the physical capability, and basic vocal technique, intonation. While in guitar, you may play tunes that needs strict rhythm. You may also train with help of metron and tuner.
And certainly, another way to improve your current version, is to develop your performance. Sometimes, it's regretful, that talent youth often lack of training, while well trained celebrities often as mechanical as robot.
Music Composition Lock-in Ideas
Now let's we count what ideas we have collected so far for music with Lock-in programming
1> Jewish balance ,(choose materials and theme of such balance itself ) and restriction on registers, to avoid technical show-offs that easily achieved by divers. from me
2> choose vocal range - from me
3> Music theater character as tailor - from the dancer and Jonah
4> instrumental music , and take music as whole than solo dominance. -inspired from the dancer
5> choirs, women and man - from the dancer
6> varies ways to handle a solo, can be instrumental like or even ryhthm like. - new creation from me
7> Oriental theory - ( for people have background of oriental cutural only)- from sushi
8> Consideration on supportive structure - from constant learning and education and observation
Look, everytime I enthuastically praise Jonah, he will be shy and this is how his eyelid looks like. And as I need a picture for Rank Tempo, he provided me this work , look he's both proudly shy and somewhat worried from his past experince.
This is the second work provided by Jonah. I've seen him become my son, and I saw him growing up with a younger sister . The younger sister was accepted by me as she cried "mama don't abandone me" . But I worried about what she has done to Jonah, so when I asked Jonah , firstly he agreed very compassionately and understandingly. But I worried about what she will be doing to his new life. This time I saw Jonah grow, to 5 years old, 9 years old, he was like a very composed and understanding kid. Then an adult picture of him fully equiped like this little guy in the first line, but also let me thought of Amadeus. He's like a warrior by my side, a hand to mum. It's funny how he created the image in the first roll. They are like boobs with aborigional boomarangs.
Recycle (Updated 10 May)
1> Jewish balance ,(choose materials and theme of such balance itself ) and restriction on registers, to avoid technical show-offs that easily achieved by divers. from me
2> choose vocal range - from me
3> Music theater character as tailor - from the dancer and Jonah
4> instrumental music , and take music as whole than solo dominance. -inspired from the dancer
5> choirs, women and man - from the dancer
6> varies ways to handle a solo, can be instrumental like or even ryhthm like. - new creation from me
7> Oriental theory - ( for people have background of oriental cutural only)- from sushi
8> Consideration on supportive structure - from constant learning and education and observation
This is the second work provided by Jonah. I've seen him become my son, and I saw him growing up with a younger sister . The younger sister was accepted by me as she cried "mama don't abandone me" . But I worried about what she has done to Jonah, so when I asked Jonah , firstly he agreed very compassionately and understandingly. But I worried about what she will be doing to his new life. This time I saw Jonah grow, to 5 years old, 9 years old, he was like a very composed and understanding kid. Then an adult picture of him fully equiped like this little guy in the first line, but also let me thought of Amadeus. He's like a warrior by my side, a hand to mum. It's funny how he created the image in the first roll. They are like boobs with aborigional boomarangs.
Recycle (Updated 10 May)
A Dancing Theater
Gee, it's a lot of work!
I can point out quiet a lot spotlights in your ideas, wondering if you have full awareness yourself.
1> Bass theme as thread in the 1 &2 , and repeated versions.
2> Music theater character
3> Dissonants / cords , and accidentals
4> Choir ( Jonah suggest you to add one man's choir too ;)
5> Vocal handled as instrument/ a focus on instrumental music
6> Egyptian music elements ( which I'm passionate about)
Overall, I hope your
1>Develop further definite characters of each music,
2> focus on one idea every time
3>make enough experiment, so as to be fully developed .
Then at this time, they will become very characteristic NEW music.
We always interested in those that can create a lock-in system. I'm happy with the additional ideas you have contributed.
Bass theme
Current problem :
1> It's only caught by me in 1 &2 pieces, and I need further clear projection.
2> you may choose different tone quality on the electronic instrument, for much better projection.
3> Such projection means increased rhythmic impulse.
4> The bass line is generally too even, but you need to make such "even" as a 'choice'.
Goals of experiment
1> I'm interested in develop the bass clearly, as basic motive and variations of theme in EACH pieces, so as to create overall unity in the thread.
2> Consciously try out different quality of tones, for definite and diverse characters.
3> Rhythmic variations that provide different MEANING of impulse.
4> Observation on the difference among even, ascending and descending progression in the bass line, and use consciously.
You may also need following help in order to create measure of your above experiments.
Theatrical Character :
You must be able to tell exactly what it is first. In order to make it very clear in your mind, you may try to write it down first.
The beginning
a piece itself has layers of meaning, however each can be projected enough, and you may try separate different characters to use in two versions , so as to create fully characterised contrast in 2 versions.
The theme seem to be a mixture of darkness and hope, so once you make it clear, you need to fully develop each.
I suggest two patterns for your choice for such contrast for 1st piece. You
The second version is currently a brilliant version with spotlights. And I love what I believe to be 'meaningful' dissonants. And the guitar is wonderful. The use of natural Egyptian melody have contemporary effect, and I certainly like those accidental flats that adds darkness and intensity.
So I wish to make the second version consciously more of darkness, intensity, dissonants that represent chaos with resolutions constantly represent boldness and willpower, to push the music gradually to its summit. With more Egyptian elements as the character.
Suggest, to handle
1> music as intentionally and gradually increased intensity and crescendo
2> expand your overall instrumental range on your score like a long < . And try a descending progress in bass. It then may become very much an instrumental music.
3> Egyptian music: please increasing the proportion and make it as thread and predominant character of the whole piece.
4> The dissonants and accidentals : the disonant is directly from accidentals in Egyptian music, that result a natural complexity in harmony, a darkened and intensified effect . You may try intentionally using more complex chords like 7.9.11.13. However in order to achieve overall increased intensity, there must be constant resolve. So that's why I suggest increased resolute character, suggest boldness.
And I'm looking forward to the renewed version, and I think Jonah will be interested in helping you on this as well. Further, my suggestion is also only an "assumption" , it needs real test with instrument in hand which I cannot achieve now. But I certainly would tell you when your reach the right effect. Jonah will be with you for that to find out your exact languages.
Further to improve that theatrical effect, I suggest you always to define characters first.
Everyone is best at expressing themselves naturally, and a good tailor measure their figure for the best quality. I'm happy with your discovery, and wish it fully developed.;)
Let's define the character of the male role. This had happened in an open experiment, when Jonah was in.
For example my idea will be
1> a drunken character
which I thought of using Jonah's loony tune as the bass, which he tried . For the first it didn't quiet work out, but the second one is exactly what it is.
2> a coarse, rough and sexually vigorous character.
the effect is fabulously dramatic , this is a job of good tailor. And singer happened to be in his best.
3> sensual indulgence - teacher Jonah's example
where Jonah intentionally used an effect of Hawaii folk instrument. I think he's brilliant!! and certainly that add to the creativity, where a new meaning is given to the instrument itself. Then he repeated in other parts and instruments like two trumpet and strings. And this is how arrangement like, so that each elements can be fully developed.
Female character
1> The ornaments of 40's Germen singer is certainly a creation and a good use- can be developed further.
2> One example is given by Jonah, it sounds like guinea pig in pets shop .
3> To be developed
can be a shallow and gay character, or a character full of self indulgence/appreciation. You may check some works of Bernstein, including lots laughs of women that certainly can be depicted as portrait,Like in Glitter and Gay.
So I will leave this blank for the composer to decide with his own wish. And you will tailor them well for the singer again.
Women's choir
Certainly choirs provide another new ideas of lock-in, which worth celebrating.
1>As independent piece it's currently beautiful and pure. But when the theatrical characters has been built in each pieces, the only thing that needs to be considered is how to put the choir into the story line. So that it's becoming part of the integrity. characters of line dancers? or ...?
You may also try make the bass theme more melodic and move to upper parts, in the texture of choir, then repeated in different parts high or low, and instrumental.
2> I then have a second thought, what if having also a second version, and deliberately using female vocal with sharp notes of high registers and rhythmic solo ( handle the solo as rhythmic elements as accompany) for dramatic contrast with lower melody lines. That may represent also dramatic conflicts in female characters.
3> Jonah has sent a message to me , saying so far we 've had 2 version of opening piece, 3 male, 3 female solo pieces, 2 women's choir with 1 of solo accompanist. It's 10, so he wish to add one more men's choir to make it a football team. hahahaha , let's just do it. There's certainly lot more we can do in the choirs.
I can point out quiet a lot spotlights in your ideas, wondering if you have full awareness yourself.
1> Bass theme as thread in the 1 &2 , and repeated versions.
2> Music theater character
3> Dissonants / cords , and accidentals
4> Choir ( Jonah suggest you to add one man's choir too ;)
5> Vocal handled as instrument/ a focus on instrumental music
6> Egyptian music elements ( which I'm passionate about)
Overall, I hope your
1>Develop further definite characters of each music,
2> focus on one idea every time
3>make enough experiment, so as to be fully developed .
Then at this time, they will become very characteristic NEW music.
We always interested in those that can create a lock-in system. I'm happy with the additional ideas you have contributed.
Bass theme
Current problem :
1> It's only caught by me in 1 &2 pieces, and I need further clear projection.
2> you may choose different tone quality on the electronic instrument, for much better projection.
3> Such projection means increased rhythmic impulse.
4> The bass line is generally too even, but you need to make such "even" as a 'choice'.
Goals of experiment
1> I'm interested in develop the bass clearly, as basic motive and variations of theme in EACH pieces, so as to create overall unity in the thread.
2> Consciously try out different quality of tones, for definite and diverse characters.
3> Rhythmic variations that provide different MEANING of impulse.
4> Observation on the difference among even, ascending and descending progression in the bass line, and use consciously.
You may also need following help in order to create measure of your above experiments.
Theatrical Character :
You must be able to tell exactly what it is first. In order to make it very clear in your mind, you may try to write it down first.
The beginning
a piece itself has layers of meaning, however each can be projected enough, and you may try separate different characters to use in two versions , so as to create fully characterised contrast in 2 versions.
The theme seem to be a mixture of darkness and hope, so once you make it clear, you need to fully develop each.
I suggest two patterns for your choice for such contrast for 1st piece. You
- either make it simply brighter, indicates confidence or hope, positivity;
- or may use the comparison between minor and major chords. I mean to keep the chords simpler and leave much more complex chords in the second version. That may represent sometimes a doubtful or softer/timid character , like your start , and then mixed with lights and hopes. So there will be a minor contrast itself in the first version. In such way you may try the difference of simply the basic minor and major chords.
The second version is currently a brilliant version with spotlights. And I love what I believe to be 'meaningful' dissonants. And the guitar is wonderful. The use of natural Egyptian melody have contemporary effect, and I certainly like those accidental flats that adds darkness and intensity.
So I wish to make the second version consciously more of darkness, intensity, dissonants that represent chaos with resolutions constantly represent boldness and willpower, to push the music gradually to its summit. With more Egyptian elements as the character.
Suggest, to handle
1> music as intentionally and gradually increased intensity and crescendo
2> expand your overall instrumental range on your score like a long < . And try a descending progress in bass. It then may become very much an instrumental music.
3> Egyptian music: please increasing the proportion and make it as thread and predominant character of the whole piece.
4> The dissonants and accidentals : the disonant is directly from accidentals in Egyptian music, that result a natural complexity in harmony, a darkened and intensified effect . You may try intentionally using more complex chords like 7.9.11.13. However in order to achieve overall increased intensity, there must be constant resolve. So that's why I suggest increased resolute character, suggest boldness.
And I'm looking forward to the renewed version, and I think Jonah will be interested in helping you on this as well. Further, my suggestion is also only an "assumption" , it needs real test with instrument in hand which I cannot achieve now. But I certainly would tell you when your reach the right effect. Jonah will be with you for that to find out your exact languages.
Further to improve that theatrical effect, I suggest you always to define characters first.
Everyone is best at expressing themselves naturally, and a good tailor measure their figure for the best quality. I'm happy with your discovery, and wish it fully developed.;)
Let's define the character of the male role. This had happened in an open experiment, when Jonah was in.
For example my idea will be
1> a drunken character
which I thought of using Jonah's loony tune as the bass, which he tried . For the first it didn't quiet work out, but the second one is exactly what it is.
2> a coarse, rough and sexually vigorous character.
the effect is fabulously dramatic , this is a job of good tailor. And singer happened to be in his best.
3> sensual indulgence - teacher Jonah's example
where Jonah intentionally used an effect of Hawaii folk instrument. I think he's brilliant!! and certainly that add to the creativity, where a new meaning is given to the instrument itself. Then he repeated in other parts and instruments like two trumpet and strings. And this is how arrangement like, so that each elements can be fully developed.
Female character
1> The ornaments of 40's Germen singer is certainly a creation and a good use- can be developed further.
2> One example is given by Jonah, it sounds like guinea pig in pets shop .
3> To be developed
can be a shallow and gay character, or a character full of self indulgence/appreciation. You may check some works of Bernstein, including lots laughs of women that certainly can be depicted as portrait,Like in Glitter and Gay.
So I will leave this blank for the composer to decide with his own wish. And you will tailor them well for the singer again.
Women's choir
Certainly choirs provide another new ideas of lock-in, which worth celebrating.
1>As independent piece it's currently beautiful and pure. But when the theatrical characters has been built in each pieces, the only thing that needs to be considered is how to put the choir into the story line. So that it's becoming part of the integrity. characters of line dancers? or ...?
You may also try make the bass theme more melodic and move to upper parts, in the texture of choir, then repeated in different parts high or low, and instrumental.
2> I then have a second thought, what if having also a second version, and deliberately using female vocal with sharp notes of high registers and rhythmic solo ( handle the solo as rhythmic elements as accompany) for dramatic contrast with lower melody lines. That may represent also dramatic conflicts in female characters.
3> Jonah has sent a message to me , saying so far we 've had 2 version of opening piece, 3 male, 3 female solo pieces, 2 women's choir with 1 of solo accompanist. It's 10, so he wish to add one more men's choir to make it a football team. hahahaha , let's just do it. There's certainly lot more we can do in the choirs.
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