Pinball
This is an acousmatic piece that consists of multiple samples that have been manipulated in various ways to create sounds different to the original, so identifying the source is difficult. Among the samples I used, one in particular is heard the whole way through the composition. This sample has been manipulated with a pitch shifter effect and a time effect, so that the sample (originally 30 seconds long) is elongated into 3 minutes. The overal effect that this sample creates is that of a metallic/electric timbre. The rest of the samples used are quite percussive and rhythmic, contrasting against the pitch heard in the continuous sample. The original samples used are the sound of a gate, tapping of a stick against wood, leaves shaking, rattling bottle caps, and a light being switched on.
This is an acousmatic piece that consists of multiple samples that have been manipulated in various ways to create sounds different to the original, so identifying the source is difficult. Among the samples I used, one in particular is heard the whole way through the composition. This sample has been manipulated with a pitch shifter effect and a time effect, so that the sample (originally 30 seconds long) is elongated into 3 minutes. The overal effect that this sample creates is that of a metallic/electric timbre. The rest of the samples used are quite percussive and rhythmic, contrasting against the pitch heard in the continuous sample. The original samples used are the sound of a gate, tapping of a stick against wood, leaves shaking, rattling bottle caps, and a light being switched on.
Already Gone
Instruments: Vocals, piano, guitar, bass guitar and cello.
As this was my first time composing music for vocals, I found it quite difficult as its not my preferred genre. Writing lyrics was particularly
hard and I struggled with sticking with a melody that I was satisfied with.The overall result is that the accompanying instruments to the vocal line were are simple in harmony and rhythm, however the melody for vocals is simple in harmony but a little complex in rhythm.
Instruments: Vocals, piano, guitar, bass guitar and cello.
As this was my first time composing music for vocals, I found it quite difficult as its not my preferred genre. Writing lyrics was particularly
hard and I struggled with sticking with a melody that I was satisfied with.The overall result is that the accompanying instruments to the vocal line were are simple in harmony and rhythm, however the melody for vocals is simple in harmony but a little complex in rhythm.
Mystery Journey- Music for Film
Instruments: Piano and strings.
When composing for the short film ‘Mystery Journey’ by Jess Tilbury (ECU film student) I had to study the film quite alot to know where exactly to have music and when to have silence. I felt that in order to build suspense, some silence was needed, otherwise the music would become too chaotic and this would take away alot of meaning from the film. To achieve a brooding and mysterious atmosphere, that suited the on screen drama, I constantly used chords and harmonies that clashed, and complex rhythms that appear to be sudden and random. Some of the music corresponds directly to the movement of the on screen drama. For example, at around 44 seconds in, the rhythm used on the piano corresponds to the sudden movement of the girl’s head. Eg.2 As she is curiously walking into the swamp area, the piano (left hand) moves in descending steps, symbolising the steps the girl is taking deeper into the mysterious swamp.
Instruments: Piano and strings.
When composing for the short film ‘Mystery Journey’ by Jess Tilbury (ECU film student) I had to study the film quite alot to know where exactly to have music and when to have silence. I felt that in order to build suspense, some silence was needed, otherwise the music would become too chaotic and this would take away alot of meaning from the film. To achieve a brooding and mysterious atmosphere, that suited the on screen drama, I constantly used chords and harmonies that clashed, and complex rhythms that appear to be sudden and random. Some of the music corresponds directly to the movement of the on screen drama. For example, at around 44 seconds in, the rhythm used on the piano corresponds to the sudden movement of the girl’s head. Eg.2 As she is curiously walking into the swamp area, the piano (left hand) moves in descending steps, symbolising the steps the girl is taking deeper into the mysterious swamp.
Vivo (Music for Dance)
In my research of music for guitars, I was significantly influenced by the music of a guitar and string quartet called
"Rush" by Mathew Hindson. This piece is complex as it starts with a consistent rhythm however is built upon with a variety of rhythms by other string instruments. This is something I have attempted to adapt to Vivo. Vivo, which is Spanish for "alive" is intended as a Spanish dance. This composition was originally formed with the instrumentation of three guitars, a cello, violin and percussion, however whilst in the process of composing, I modified it to the instrumentation of five guitars with an individual "clapping" for the percussion line. As a result, the instrumentation, melody and rhythm conveyed a Spanish quality and atmosphere. Each guitar has one bar in which differs in rhythm and range. This is repeated over and over throughout the composition; however each guitar is introduced in separate times. This creates a polyphonic texture through the use of repetitive themes layered on top of each other. As a form of layering, this contributes to the build up to the climax, which is then settled by gradually removing each guitar until there is just one left. This mirrors the start of the composition and therefore creates a sense of balance and symmetry. The form of the piece is through composed as each guitar has a set criterion of rhythmic and melodic phrases and certain points in the composition when they are introduced. The overall 'character' that was achieved, was one of spirit and movement (symbolic to dancing). To convey this I used rhythm, articulation, tempo and tonality. The rhythm used was complex and syncopated, and in addition all guitar parts had distinct and contrasting rhythms. Simultaneous to rhythm, the use of articulation for each instrument was also contrasting and distinct, from the use of accents, staccatos and slurs. The tempo marking of 'con spirito' (with spirit) and the tonality of a major key expresses and contributes to the overall atmosphere of a lively and spirited Spanish dance. While using complex rhythms and melodies and overall structure of layering, Vivo explores the full range of the guitar and as a whole, displays the lively and spirited atmosphere
of a Spanish dance.
In my research of music for guitars, I was significantly influenced by the music of a guitar and string quartet called
"Rush" by Mathew Hindson. This piece is complex as it starts with a consistent rhythm however is built upon with a variety of rhythms by other string instruments. This is something I have attempted to adapt to Vivo. Vivo, which is Spanish for "alive" is intended as a Spanish dance. This composition was originally formed with the instrumentation of three guitars, a cello, violin and percussion, however whilst in the process of composing, I modified it to the instrumentation of five guitars with an individual "clapping" for the percussion line. As a result, the instrumentation, melody and rhythm conveyed a Spanish quality and atmosphere. Each guitar has one bar in which differs in rhythm and range. This is repeated over and over throughout the composition; however each guitar is introduced in separate times. This creates a polyphonic texture through the use of repetitive themes layered on top of each other. As a form of layering, this contributes to the build up to the climax, which is then settled by gradually removing each guitar until there is just one left. This mirrors the start of the composition and therefore creates a sense of balance and symmetry. The form of the piece is through composed as each guitar has a set criterion of rhythmic and melodic phrases and certain points in the composition when they are introduced. The overall 'character' that was achieved, was one of spirit and movement (symbolic to dancing). To convey this I used rhythm, articulation, tempo and tonality. The rhythm used was complex and syncopated, and in addition all guitar parts had distinct and contrasting rhythms. Simultaneous to rhythm, the use of articulation for each instrument was also contrasting and distinct, from the use of accents, staccatos and slurs. The tempo marking of 'con spirito' (with spirit) and the tonality of a major key expresses and contributes to the overall atmosphere of a lively and spirited Spanish dance. While using complex rhythms and melodies and overall structure of layering, Vivo explores the full range of the guitar and as a whole, displays the lively and spirited atmosphere
of a Spanish dance.
Black Keys
This is an experimental improvisation piece based on using black keys only, however every so often a random white key is heard. Playing on black keys creates a meditative kind of atmosphere, but when a random white note is played, this throws off the the calm mood.
This is an experimental improvisation piece based on using black keys only, however every so often a random white key is heard. Playing on black keys creates a meditative kind of atmosphere, but when a random white note is played, this throws off the the calm mood.
Pipe Dream
Instruments: Maracas, vibraphone, guitar, harp, celesta, 4-string bass guitar
Pipe Dream employs an ensemble of string based instruments that aren't usually paired together.
Instruments: Maracas, vibraphone, guitar, harp, celesta, 4-string bass guitar
Pipe Dream employs an ensemble of string based instruments that aren't usually paired together.
Disorder
Instrumentation: Wind quintet (flute, oboe, clarinet in B flat, french horn and bassoon)
To begin the piece, I chose all instruments to start in unison to represent balance and unity, however eventually each part gradually breaks off into canon. As each instrument is introduced into the canon, the use of dynamics (forte) allows emphasis on that individual instrument until another instrument is introduced, and in which the previous instrument then returns to mettzo forte. The chaotic atmosphere that is created is emphasised by the use of complex rhythmic phrases and time signatures. Gradually, each instrument is extracted leaving just the flute to play the final phrase.
Instrumentation: Wind quintet (flute, oboe, clarinet in B flat, french horn and bassoon)
To begin the piece, I chose all instruments to start in unison to represent balance and unity, however eventually each part gradually breaks off into canon. As each instrument is introduced into the canon, the use of dynamics (forte) allows emphasis on that individual instrument until another instrument is introduced, and in which the previous instrument then returns to mettzo forte. The chaotic atmosphere that is created is emphasised by the use of complex rhythmic phrases and time signatures. Gradually, each instrument is extracted leaving just the flute to play the final phrase.