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

• 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.