Resonant Sequences (and more)

[furtwaengler]

From Friday, October 8th, 2010. An empty hall. An empty building...Everybody went home (except the squirrels - they call it "fall break").

A couple of helps for basic language and technique:

https://www.pianostreet.com/smf/index.php?topic=34357.0
https://www.pianostreet.com/smf/index.php?topic=38110.0

This is my first attempt to try a better recorder (than the voice recorder or tape recorder) in one of these experiments in secondhand resonance that fascinate me. It is also largely based on a set of notes I began toying with a couple years ago (which may never be as successful as they are in the above link. I have edited the file down from what I uploaded late last night, leaving only my own improvisational moves. I have a normal practice of cutting the actual practice or quotes, or runs of legit music out of improvisation, for practical reasons, but if a couple of you may have downloaded the file I originally uploaded in this thread (I saw 3 downloads), in which I had left at the end a run of the first 9 minutes or so of Medtner's op. 25 no. 2, that's okay. I am leaving this in the file posted to Mediafire below, in case that interests you. This is the only way I can see sharing such an undone section...but at the same time it may never be something I'm able to perform on stage or present as a whole in the audition room.

Of course this time last year I was practicing Medtner, and there is limited evidence of this in the bottom thread, Time Space Resonance, though not in the main body, but in the "Tonal Extract." Well I'd love to play more of Medtner's music, whether in a solo recital, or convincing a vocalist to tackle some songs, or convincing one of the violin adjuncts at the school to look at the sonatas...but I am free at this moment as far as solo performance and am exploring the terrain. So it goes:
 
Improv with some Medtner here: https://www.mediafire.com/?h43uz058ptxl91y
Improv alone below.

Happy listening!  

[furtwaengler]

I might as well use this space.

Swarm

Here is another one from the same night, same setup. It is short and wild (which makes me wonder what would happen Quantum was in the same room with his own instrument...I'd be interested in that experiment!). At some point it almost sounds like crickets (which is hopefully not the response I get, ha. 3 minutes sounds like about 30 seconds.

Five off the tracks

This is from last year, September 1, 2009. It too is very wild and a bit contrapuntal with an emphasis on quintuplets offset by offbeat duplets. 3 minutes sounds like about 6 minutes^ (relativity).

[birba]

Very impressive - such diversity in style and color.  You're something else! 

[furtwaengler]

Very impressive - such diversity in style and color.  You're something else! 

Thank you Birba! And this quote was referencing the original file in the top most post...confusing, for I messed up and completely blew this thread, so I've changed it all around to a better fit (and now every post has a different title, ha).

[Derek]

I enjoyed the third one of these the best, I liked the cross rhythms and counterpoint. The first one sounded like some kind of arpeggio built on a tower of fifths or fourths or something, or is it something else? It was too fast for my ear to figure out.  As for the second one, were you inspired by Scriabin's 10th sonata (I think it was)? at least by the imagery?

I haven't heard much by him but are you at all influenced by Hindemith? the contrapuntal/crossrhythm piece reminded me of music I've heard by him somewhat.

[lostinidlewonder]

Holy moly great stuff furtwaengler, your fingers are so oily!

[furtwaengler]

Holy moly great stuff furtwaengler, your fingers are so oily!

Haha, thanks man. I'm not sure exactly of the lingo, though. Slipper? Smooth?

I enjoyed the third one of these the best, I liked the cross rhythms and counterpoint. The first one sounded like some kind of arpeggio built on a tower of fifths or fourths or something, or is it something else? It was too fast for my ear to figure out.  As for the second one, were you inspired by Scriabin's 10th sonata (I think it was)? at least by the imagery?

I haven't heard much by him but are you at all influenced by Hindemith? the contrapuntal/crossrhythm piece reminded me of music I've heard by him somewhat.

Thanks for the comments Derek. You have a good ear...that's exactly what it is, a tower of fifths with major thirds interlocking, lowest B to highest B. It has it's limitations as far as color and the force of the tonality - I tend to want some darker colors than such a thing can produce to counter it's natural brightness, but there's also quite a bit that can be done with it.

As for Scriabin's 10th Sonata, I can't say I was influenced by it...the 10th is more irradiated light (apaugasma), than the improve could approach...I think there's much more influence from Ligeti's etudes and general experimentation with a "dirty" minimalism. I cannot lose either Scriabin or Ligeti from my language, though.

And I love Hindemith, and I think it's interesting you'd hear him. He was much cleaner than I could approach, and while I have heard him at moments in improvisation, it is rarely sustained, and never pervading and entire piece. Certainly the closest I've approached Hindemith's idiom is in "Scapes," one of the diversions found here: https://www.pianostreet.com/smf/index.php?topic=34890.0

There's a piece I wrote a few years ago called, "The Waltz Machine," and though I've not found many people interested in it or liking it so much, I've always loved it, and there is a very "combustible" section which goes haywire with jagged, shifting accents bouncing off one another, and "Five off the tracks" is very reminiscent of that...just crashing off the tracks.

(I always end up with too many words and regret it...but I happen to love other composers and their influence! Fascinating.)

[lostinidlewonder]

Haha, thanks man. I'm not sure exactly of the lingo, though. Slipper? Smooth?

Yeah like your fingers glide over the notes so effortlessly and cleanly with little hint of physical exhaustion or strain. No friction. It makes the overall presentation very enjoyable to listen to.

[furtwaengler]

I see. Yes, the Yamaha's action here makes it hard to fatigue much (within reason).

[chopinatic]

Yeah like your fingers glide over the notes so effortlessly and cleanly with little hint of physical exhaustion or strain. No friction. It makes the overall presentation very enjoyable to listen to.

I agree, very smooth effortless playing for pieces so hecktic and powerful and busy.
Most enjoyable
Thanks for posting