[Classic]Was für ein Leben! 2nd mov[ogg]

[rncekel]

Finally, I have finished the 2nd movement. It is here:

ftp://ftp.scenesp.org/pub/modulez/rncekel/cuarta2.zip

It is dedicated to all victims of terrorism, and is the darkest and sad part of the quartet. It flows from an atonal and beat-less part to a 4/4 (disturbed by the bass, who insists playing in another rhythm) in minor mode and arabic scale, and a quiet tense 10/8. I hope you like it.

All the (virtual) instruments have been made by myself at home, from some hundreds of samples recorded from real instruments.

By the way, there is also a new version of the 1st mov., that you can find here:
ftp://ftp.scenesp.org/pub/modulez/rncekel/cuart1.zip
I have changed only a pair of notes in the score, but there are completely new instruments.
Also, you can find the score of both movements, in a nice pdf, here:
http://www.oocities.com/rncekel/wasfur.pdf
The third movement is growing very slowly, but I like it very much.

[Sam_Zen]

I didn't know the 1st movement so checked that first : Beautiful instruments and production.
It may be intentional, but I notice a bit a lack of cohesion between the first parts and how it ends. It seems to be written part by part, added in a serial way.
2nd movement : This obviously has this cohesion. Quite a dramatic work. And I like arabic scales.

[KrazyKatz]

2nd Movement -
Heres something to test out,

Around the 2:06 mark I believe the Viola goes F-A-F , F-A-F , C-E-C, C-E-C etc...
Make it a weepy sounding violin an octave higher.

A bit A-tonal for my liking, but well constructed piece.

1st Movement -

Outstanding! Would be great to hear it played for real.

[rncekel]

Thanks for the comments.

To Sam Zen:
In fact, the idea was that a sentence may change its meaning a lot, depending on the way you pronounce it (the title, translated: What a life!, is an example). The first movement was a kind of "prelude and fugue". It is seemingly continuosly changing, but in fact it is always the same musical sentence. And the 2nd movement, it is not the same exactly, but it is also a modification of the same sentence, and so will be the 3rd.

To Krazy Katz:
I'm not sure of having understand your suggestion. Do you mean that I changed the violin part for the viola, or that I raise the violin pitch an octave?

[KrazyKatz]

I mean its already a viola ( I think ) playing the F-A-F etc... Change it to a violin with vibrato for that weeping effect, and make it play the same notes only an octave higher. If you cant understand this, then I could post a sample of what I mean

[Sam_Zen]

2 rncekel
Thanks for the excellent explanation. Now it makes sense.
So you practice one of my favourite concepts : get the most out of as less material as possible.

[rncekel]

To KrazyKatz:
It may be a good idea, I should try. But I don't know what would I do with the violin that it is sounding at the same moment; the pitch is so close to the viola, that may be I'll interchange the parts, at least for some bars, and then return to the original. I would try it...
To Sam Zen:
Yes, I like very much to work with a lot of restrictions. Being able to do something when you are full of restrictions makes you feel really free! And I think that most of the great comoposers made this very oftenly. Most of the greatest composition are really made out of a relatively scarce material.

[KrazyKatz]

You're right and I thought about that... it would have to be changed. At the end of the day the decision is up to you. Its your piece not mine .

[Sam_Zen]

So I re-listened to the 2:06 Viola part, contemplating about possible changes.
It's indeed tricky to place two instruments in the same pitch area. The vibrato then is the distinguish factor. It could enhance the
dramatic situation indeed in some way. It's fine by me as it is, but considering a change :
Maybe it's not a matter of replacement but addition. So keep the original Viola-part and add a new channel with the same Viola,
an octave higher, and with some vibrato. Better still, I suppose, start the second one with a tiny delay in a somewhat different
position in the panorama.

I like very much to work with a lot of restrictions. Being able to do something when you are full of restrictions makes you feel really free!

Great. Restricting is one of the essences of working with electronic music. Just because almost everything is possible..
At the same time one of the big differences with working with real hardware instruments. In that field, it's a matter of adding
sounds by actions like blowing, tapping, striking, etc. Adding instruments in a score. If someone doesn't blow, nothing is heard.

Electronic instruments (as long as having electrical power) is a different story. They are autophonic, meaning there's no physical
effort needed to make a sound, or repeat a sound. And they are often multi-instrumental in their output.
So electronics calls for restrictions of sounds used in a composition in the first place, rather than adding sounds.
If I switch on my analog EMS synth, I have to make sure that all sources are off at the signal output as a default, because
there are 3 oscillators and a noise generator. at least, constantly producing sound. This also is a matter of restrictions.

[Saga Musix]

very well done! but... the first part sounds very strange on my speakers, although i didn't use any EQ while playing the song... there are some frequs that my speakers don't like otherwise: good tune!

[mrvegas]

Just listened to both movements -- very beautiful music.  I really liked the second movement.  

By the way, the files would not play properly in Modplug, but came up fine in XM play.  What was the format again?

Thanks for the sheet music, also.

[rncekel]

Thanks. I'm glad that you like it.
Both were made with Modplug; just my samples and some vst's for effects. And they were in "it" format; but they were even bigger than the resulting wav's. Then, I converted them to ogg with Audacity.
The sheet music was made with lilypond, that it's freeware also.