[RichardBrooke]

I’d like to recommend this album:

Portraits Of Earth
by Amazon.co.uk
Learn more: https://www.amazon.co.uk/dp/B01BWXZI00/ref=cm_sw_em_r_mt_dp_U_zaxkEb94VHZKH

It’s by a contemporary composer, Alexander Chapman Campbell, from Scotland.

Don’t be put off by mentions of “Earth.” It’s simply wonderful music inspired by being in nature. Some parts, especially in “The Living Mountain” and “The Winter Hills,” remind me of Rachmaninov’s solo work.

/sb

[BetsySpeicher]

Re: Richard Brooke’s post 101505 of 1/23/20

You can listen to some of Alexander Chapman Campbell’s music on YouTube here.

*sb

[Harry Binswanger]

Re: Richard Brooke’s post 101505 of 1/23/20

Some parts, especially in “The Living Mountain” and “The Winter Hills,” remind me of Rachmaninov’s solo work.

I listened to two or three pieces, the best of which was “The Living Mountain.”

I can see a resemblance to Rachmaninoff’s Etude Tableaux, but one without substance. Where Rachmaninoff’s music is complex, Chapman’s is simple. Rachmaninoff’s music has strong emotional content—powerful emotions clearly and forcefully expressed. The Chapman musiic I heard, is a sigh. And an over-long one at that.

What I heard lacked distinction in any area: melody (barely any), rhythm (unoriginal and repetitious), texture, and harmony (harmony was his most creative aspect, but it’s hardly first-rate).

[Pete Jamison]

Much of popular music post-1980 or so is minor-key.  The handful of compositions I’ve heard of Campbell’s are major-key.  The level of complexity is low, as with the “new age” players like Liz Story, George Winston and Suzanne Ciani (plus guitarists like William Ackerman).  This material is pretty and can be soothing, but to me usually not as engaging as even pop composers like Jimmy Webb’s piano versions of “MacArthur Park”.  Webb will usually produce melodies more insistent or frenetic, use more key changes and introduce more specific themes than any of the other artists mentioned, who can be cyclical or droning.

Now, when needing to be calm, I’ll prefer some such music (early Liz Story and later Suzanne Ciani).  But I’m aware that many of my friends will consider it something like sensory deprivation. 

[StephenHarper]

Re: Richard Brooke’s post 101505 of 1/23/20

I don’t know if you have seen this performance of Alma Deutscher’s “Siren Sounds Waltz” (2019) at Carnegie Hall in December:

https://youtu.be/W0xMpLXQNvM 

/sb

[Harry Binswanger]

Re: Stephen Harper’s post 128508 of 1/25/20

I really sympathize with what Alma Deutscher has done here. That’s because I have a hobby of writing pop songs and her music has the same failing as mine: not original, not from the deepest soul. Almost every song I have written (of about 12) is, to my ear, very melodic, but I’m constantly (rightly) worried that I’m recycling music I’ve heard before. 

That’s what she’s done in this piece. The opening is a fusion of Gershwin’s use of auto horns in “American in Paris” with other, more “modernist” introduction of literal sounds into music. These are slightly objectionable gimmicks. They do switch from the musical to the (at best) cute. But that’s not why her music falls short.

After that non-musical section, comes a brief, first-handed, emotional bit that perked up my ears and touched my heart, but it lasts only 15 seconds (from 4:00 to 4:15) and is apparently intended as just an intro to the main section which is an echo of Strauss waltzes.

I wish she would listen to what she did in those 15 seconds, get in touch with those feelings and let them dominate her work. Because she does have some talent, and she is impervious to the sense of life onslaught of the 20th century. 

But more Strauss is not the answer.

/sb

[JimAllard]

Re: Harry Binswanger’s post 128516 of 1/25/20

Spot on! Especially the identification of the section from 4:00 to 4:15 as a first-handed exception to the rest of the piece. 

*sb

[Harry Binswanger]

Re: Jim Allard’s post 128517 of 1/25/20

Thanks, Jim. I hope you can find some first-handed elements in my (not totally completed) songs at: hblist.com/mu

Of course my really derivative song ideas I don’t put on the web.

*sb

[CynthiaGillis]

Re: Harry Binswanger’s post 128516 of 1/25/20

While I too am impressed with her accomplishments at her age, her music is less impressive.  I expect she will improve as she matures.

When I finally reached the “waltz” part I heard second-rate Strauss.  Some of Strauss (Johann) can be lovely –not deep, but some long lines and pleasant, original melodies that make me want to dance.  

To me, on the other hand, some of Strauss is good quality elevator music.  And I’m sorry to say this is what she has created.

/sb

[CynthiaGillis]

Re: Harry Binswanger’s post 128518 of 1/25/20

I hope you don’t mind that while you offered Jim the link to your songs, I listened to them.  And while some might be derivative (of Scott Joplin though, not Strauss), I found many of them truly moving.

Your rhythms are quite remarkable.  Full of little anticipations, which is what I love so much about Scott Joplin.  I’m sitting at my desk and dancing, partly in my swaying mind and partly in my swaying body.

While there are many on your list that I enjoyed, and I soon may have a different favorite, my favorite right now is probably Tango Milango. But I do have a question about it.  It sounds like a waltz to me, not a tango.  Interestingly, those are my two favorite rhythms.

Anyway, thank you so much for the pleasure.  It is lovely to hear good music that I haven’t heard before.

/sb

[Stephanie Bond]

Re: Harry Binswanger’s post 128518 of 1/25/20

my (not totally completed) songs at: hblist.com/mu

Today, my favourite HB song-let is Travelin’ On.  I request more of that one, please.

[NellKroeger]

Re: Cynthia Gillis’ post 128522 of 1/25/20

I see what Cynthia means about Harry’s Tango Milanga, it does not sound like the tango in American or English style ballroom dance.  And after the first few bars, it doesn’t sound like a waltz either.

While there are many on your list that I enjoyed, and I soon may have a different favorite, my favorite right now is probably Tango Milango. But I do have a question about it. It sounds like a waltz to me, not a tango. Interestingly, those are my two favorite rhythms.

But could it be an Argentine Tango, which is a different rhythm?  Harry?

Regardless, I like it.  I also like Matilda Rag, Gypsy Waltz and Feeling Lucky.  I think that last one, Feeling Lucky, is my favorite.

*sb

[Harry Binswanger]

Re: Cynthia Gillis’ post 128522 of 1/25/20

I’m so very glad you liked them. The piano part on Tango Milonga (I had the spelling wrong) was the arrangement of M. Zachary Johnson (aka Matt Johnson). I don’t think it’s a waltz. It’s in 4/4 time, as I wrote it.

Maybe you, Cynthia, can write some lyrics for it or one of the others. I’ve made an attempt, but am not satisfied with my own lyrics ability.

Everyone is welcome to listen to my songs, or song-fragments, in some cases.

/sb

[CynthiaGillis]

Re: Harry Binswanger’s post 128524 of 1/25/20

Need lyricist, preferably named Hammerstein. Contact H. (Rogers) Binswanger

 

(oops, this post was inadvertently done in Cynthia’s account but written by John Gillis)

*sb

[ZacharyKauble]

Re: Cynthia Gillis’ post 128526 of 1/26/2

It’s really interesting to hear her explanation of the music at the beginning of the video.   First, she describes her experience of hearing Viennese police sirens and then trying to continue what she heard as a melody in her mind.  This was the original source of inspiration for her piece.  Then she goes on to say that she was inspired to write a waltz because Vienna is the city of waltzes. 

So you have a first-handed source of inspiration followed by a second-handed source of inspiration and it plays out perfectly that way in the music.  From around 3:50 to nearly 5:00 I felt that originality like others have noted, and it REALLY is promising.  She articulated the inspiration for this part so well in her explanation!  Building up to 4 minutes you hear the ugliness of the modern world, and then at exactly 4:00 minutes she dismisses that ugliness.

What follows after that is beautiful background music.  She is very young, and I think it’s difficult to not be creatively second-handed at first…especially in music.  I find that consciously trying to be first-handed in a creative pursuit kills my motivation. 

/sb

[JimAllard]

Re: Zachary Kauble’s post 128527 of 1/26/20

She is very young, and I think it’s difficult to not be creatively second-handed at first…especially in music.  I find that consciously trying to be first-handed in a creative pursuit kills my motivation. 

I agree. I don’t think one can try to be creatively first-handed, in the sense of making this the conscious goal. Creativity comes, not from within, but from being a good observer, both of what is “out there” and  one’s emotional response to what is out there. (This might be an overstatement, but there’s truth in it.)

I think one has to start by identifying what one is moved by, emotionally, and then trying to emulate that. One has to take elements found in other people’s works — the elements that really speak to one’s sense of life — and try to recreate that sense of life response, through emulation.

This starts by learning to play parts from other composers — recreating the melody, the feel, the rhythm, etc. Do this with a wide variety of music that one responds to. Next, combine elements that one has learned through emulation with the goal of experiencing the combined emotional response. Experiment, try new combinations — not randomly, but based on ideas and techniques that one already responds to.

I think a common mistake that musicians make when trying to create new music, is trying to sound like the artists they admire. If they hear a song that really speaks to them, they will often try write something that sounds like that song. This is deadly. 

One’s focus should not be on sounding like the music one loves, but rather, on capturing the emotional response that one gets from others’ music. One has to learn to listen, not to pitches and rhythms as sensory elements or scientific frequencies and intervals, but in emotional terms. One has to learn to “hear” the effect of the music — one’s own emotional response — and work to organize and re-organize one’s repertoire of musical ideas and skills in ways that evoke the desired emotional response.

/sb

[Harry Binswanger]

Re: Harry Binswanger’s post 128524 of 1/26/20

Nell, I truly appreciate your comments. I’m encouraged to do more work, both on these and on new songs.

The rhythm of Tango Milonga (I misspelled a real name) is just like that in Scott Joplin’s “Solace.”

*sb

[StephenHarper]

Re: Harry Binswanger’s post 128516 of 1/25/20

I cannot speak as a musician, just as a fan of Romantic music, but I do not hear any other composer’s music when I listen to Alma Deutscher’s music, I just hear her music and I love most of it. I do hear similarities with other Romantic composers such as Chopin, Mendelssohn or Grieg, but I do not hear “pastiche.” I understand your criticism of the beginning of her “Siren Sounds Waltz.” I prefer the solo piano transcription version on her recent CD, From My Book of Melodies (track 11-16); this includes the Introduction, four waltzes and then the Coda. Unfortunately, the YouTube uploads of this piece (by Sony) from the CD is in 6 parts and it can be confusing, choppy and disconcerting to hear them; if I could have put the solo piano version on one link I would have linked it in my previous post (#28914) instead of the Carnegie Hall orchestra version. The non-musical sounds are subtly masked in the piano version. I highly recommend buying the CD. Here is a link to the Introduction:  https://youtu.be/qCuDqcRbai8

I read an insightful recent review of Alma’s Carnegie Hall concert (and of her music in general) by Heather MacDonald in The New Criterion: “Music to Our Ears”; it is not behind their firewall. The only major disagreement I have with her is her criticism of Alma’s Piano Concerto. In my opinion, it is Alma’s greatest work. https://newcriterion.com/issues/2020/2/music-to-our-ears 

For those who did not attend the Carnegie Hall concert or missed the live stream, it is still available (in slightly edited form) on MediciTV (free with registration):  https://www.medici.tv/en/concerts/jane-glover-conducts-deutscher-alma-deutscher-natalie-image-and-jonas-hacker/ 

/sb

[CynthiaGillis]

Re: Harry Binswanger’s post 128524 of 1/25/20

I am truly honored that you think I might be able to do song lyrics for your lovely music.   

Maybe you, Cynthia, can write some lyrics for it or one of the others. 

I am so not the person to do this.  I love good lyrics.  In order, my heroes are Noel Coward, for his heart-stopping subtlety; Alan Jay Lerner, for his ingenious and sometimes moving rhymes; Cole Porter for pure cleverness and occasional emotion. 

I have thought about lyrics, and what makes them good, and what makes them different from poetry.  And I have some views on these issues.

But…I have never had a “lyric” idea and would not know where to begin.  Those who can, do, those who can’t, criticize.

/sb

[CynthiaGillis]

Re: Harry Binswanger’s post 128530 of 1/26/20

I just went back to your list of songs, and could open all except Tango Milonga.  Is there a glitch or have you removed it?

The rhythm of Tango Milonga (I misspelled a real name) is just like that in Scott Joplin’s “Solace.”

My purpose was to check the rhythm of “Solace”…and it is definitely 4/4.  But, from memory, Tango Milonga’s opening bars are 3/4.  (Argument from authority: Nell says the same thing).

*sb

[JimAllard]

Re: Harry Binswanger’s post 128518 of 1/25/20

Thanks for sharing! I really enjoyed listening to them (about 5 times). I love the melodies. Really good!

The timing and dynamics are a bit “mechanical.” Maybe it’s an execution thing, but to my ears the melodies demand a more fluid dynamics and timing. 

Six Times the Rapture stands out as having the kind of fluidity that I like. The tempo and dynamics in this piece flow nicely with the melody.

My favorites are C-minor Waltz, Traveling On and Six Times the Rapture. There’s some real emotion in these, just ready to be finished and polished.

*sb

[JimAllard]

Re: Jim Allard’s post 128554 of 1/27/20

Speaking of musical creativity, I thought I’d share some music from one of my high school friends. In my view, it’s a good example of combining familiar music styles to create something new. See if you agree.

https://www.youtube.com/watch?v=uAr8p12epD4

*sb

  

[Harry Binswanger]

Re: Cynthia Gillis’ post 128553 of 1/27/20

No, I went into the file to change the spelling of the title and something went wrong. Seems to be fine now, try again. Thanks for telling me.

Some years ago, David Berry, to teach me a few things, kindly did his own arrangement of this, and his score (first page is below) is listed as 4/4.

Here’s the opening of Joplin’s Solace, which he notated as 2/4, either because that is right or to accord with the fact that rags are generally in 2/4 rather than 4/4.

/sb

[Harry Binswanger]

Re: Jim Allard’s post 128554 of 1/27/20

Yes, the decidedly mechanical nature of these renditions is due to the fact that they are all done by computer. Even doing things that way can be made to sound more human, but I don’t know enough about the software (or performance issues) to implement that.

I also think “Six Times the Rapture” has the best moments. Incidentally, the title is just what sprang to mind. The sources were “Six Degrees of Separation” and the idea of rapture (in the totally non-religious sense).

You are right that they need development and polishing.

I’m thrilled to get this encouragement.

*sb

[Harry Binswanger]

Re: Nell Kroeger’s post 128514 of 1/26/20

I neglected to thank you, Nell. I’m so glad you like them, and Feelin’ Lucky stands out to me, too. In the second section I have real Joplinesque syncopation, and without borrowing his emotional content.

It desperately needs a B section and a “bridge.” Doing that kind of thing requires plunging in for several hours—happy hours, but I haven’t made this a priority, because it’s a hobby.

*sb

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