The risibly random ramblings of an apanthropic hemegomisian hadeharian polymathetischian technophilic tonopoeic transhumanist logolept.

Rachin (op. 89)

Thursday, November 16, 2006 0 comments

In this post, I'll be making the premiere of the first and second movements of my three-part (book of) Job inspired piece, "רחין", that title being the initials of the first of the three lines of text that inspired the piece and its movements:

רוחִי חֻבָּלָה יָמַי נִזְעָכו
(אֶל־אֱלוֺהַ דָּלפָה עֵינִי)
קְבָרִם לִי

The whole score of Opus 89 can be heard here; in a different recording, the second movement ("אֶל־אֱלוֺהַ דָּלפָה עֵינִי") can be heard in solo here, and the third ("קְבָרִם לִי") can found on this blog here.

Mens Turbulenta

Thursday, November 9, 2006 0 comments

Tired, sick, feverish and frustrated one night, I turned to the keys as an outlet, and what resulted was a small piano work, named for the feverish mind that created it. Not completely satisfied with it in that form, the work gradually mutated into a work for strings, which can be heard here.


Tuesday, October 17, 2006 0 comments

Wrote a new piece for a friend. Piano quartet, with a primary theme in A maj, and a midsection modulation into F#m, with some experimentation with intentional dissonance near the end of the latter before remodulating back to A maj.

You may listen to it here.

Combine 1 part Chopin, 2 parts Satie...

Wednesday, June 7, 2006 0 comments

Nothing especially clever tonight, alas, just an idle bit of time wasting. You could think of this as what happens when you mix together varying amounts of sleep deprivation, recovering-from-illness, Erik Satie, Chopin and myself—or, "Raindropédienne", perhaps, for short (a combination of Chopin's 15th prelude, the "Raindrop" prelude, with Satie's first Gymnopédie and Gnossienne). It's a small piano work with an ABA structure; in A—a liberal treatment of Am—the left hand is a simple motion similar to the bass of the Gnossienne, while the melody is almost a verbatim transposition of the opening melody of the prelude. In B, we briefly modulate to Cm, and a tiny microcosmic ABA form of its own, where in Ba the bass is a slight variant on the initial bass of the Cm modulation in the prelude, while the right hand takes on a transposed variation on the Gnossienne melody; in Bb, the bass continues to follow the prelude but becomes a transposition of the material from the left hand of the molto tenuto movement of that work, and the melody becomes a Lydian transposition of the right hand theme of the Gymnopédie.

Other than doing the transpositions, stitching the disparate parts together and touching up a note here or there where the original themes didn't quite mesh, there's so little of myself in this piece I hardly feel right putting my name on it. As a result, I won't be adding this piece to my formal catalogue of works, naturally, but it was a fairly pleasant exercise and not quite the hand-mangler Für Elise on the bass proved to be, so I thought I'd tip up a copy here for any who might be interested.

Für Elise

Sunday, May 21, 2006 0 comments

Courtesy of Beethoven, the 6-string, a high-C, pinched harmonics, Cubase, the Zoom B2.1u, the Morley (though only as a volume pedal, for the crescendos and diminuendos), several takes and enough pain meds to make my hands usable tonight. Enjoy Für Elise on six-string bass.


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