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Post by BootHamilton on May 23, 2019 2:04:30 GMT
Most ambitious piece to date. Yes... that does mean 'longer', but also that I worked hard to incorporate advice from certain people here & about. Hope is that length is more than offset by interest created via thematic development and scene-change. The Private Winter
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Post by Mike Hewer on May 23, 2019 15:46:33 GMT
Boot, I can't fully reply right now, but just wanted to say that the first few minutes of gorgeous harmonic moves had me hooked, I'll listen to it all tomorrow.
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Post by BootHamilton on May 23, 2019 18:55:15 GMT
Thanks, Mike. That's encouraging.
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Post by Mike Hewer on May 25, 2019 7:25:14 GMT
Hi Boot,
I really love the Brubeckian mood and harmony early on and was very surprised by the synths, but didn't hate them. One can tell that this is deeply felt music and it is quite moving. The change at 4mins is well judged imv although I found the strings a little too choppy but regardless, I'd have liked a bit more of it as it feels too short given the breadth of the first part (I have a thing about proportion) - the bass entry after is lovely. The strings around 7mins are moving and I love the overlaid dissonance, disorientating, creating a struggle which works nicely. I actually didn't immediately go for the major ending before the coda at 9mins, but the coda itself is lovely with more crunchy, sumptuous harmony. The last chord is far too short in duration for me, especially after 10 mins, you could draw the finality of the music out a bit longer to make it a clear ending.
This music is certainly distinctive, unique almost and as a result actually speaks for itself, nice one Boot.
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Post by BootHamilton on May 26, 2019 19:02:32 GMT
Thanks Mike. As always, I'm grateful for your time and value your learned assessment. A lot of food for thought; new ways to think about things - new things to think about. Movement-length; proportionality. This is good stuff (I put in a request to double your pay).
The Brubeck reference caught me by surprise because, even though I practically wore through the vinyl of my "Time Out" album that I've had since early '60's, I assume you refer to his later, larger work, of which I am just marginally familiar. Your comment about 'overlaid dissonance' is especially rewarding. Why? It's there due to the influence of pieces by a guy named Mike Hewer. Anyway, lots to think about and incorporate into new schtuff.
Time to do my homework (Not really - grabbin' a beer, firing up the grill and checking-in to see what's going on at the '500). Btw, at today's pre-race events at Indy, included in the fly-over during the national anthem was a beautiful Spitfire.
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Post by Dave Dexter on May 26, 2019 19:39:56 GMT
Once again demonstrating I have a lot to learn about restraint and space. As with Mike, the crunchy piano movement and harmonies dug in right from the start, and I must say that's my favourite section - that and the double bass/piano interlude, which was like butter melting over Thelonius Monk sheet music. Some of the string samples sounded great (the long sustained notes) but I agree that the staccato draws attention to itself, imo too loud and not quite on the beat. An issue of mixing and production rather than music.
The double bass and piano sound great, real or sampled? Although on another listen, if the double bass is a sample I would back off the close mic - if you can - to remove some of the string click from about 6.00.
I'm not a jazz guy so most of this writing would never occur to me - admirable work, the right balance of tonality and surprise that keeps me interested.
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Post by BootHamilton on May 27, 2019 20:39:23 GMT
Thanks for taking the time, Dave. Can't argue with anything that either of you have said. Yup, that rhythmic string bit comes-on a little aggressive. I guess I need to revisit that. In the final stages of mixing I started noticing those bass-string clicks. I think I must've accidentally 'hit' something. Btw, it's all 'fake'. Everything I do is via my weighted 88 key midi controller. Those are my go-to VSTi's for piano and bass. I can get rid of those 'clicks' in a heartbeat.
I guess I'm out of it. You guys both used a term I've never-ever heard before - 'Crunchy'. I didn't know what the hell you were talking about... 'til I google-ized it.
Looks like I need to work some more on various aspects of this lump. Crap. I'm kinda' (very) sick of it just now. Maybe I'll get away from it and come back later. Or never. Who knows? We'll see.
Anyway, I'm glad you got some enjoyment from it. The big payoff for me is, "... the right balance of tonality and surprise that keeps me interested."
That's what I do it for.
Thanks, Dave.
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Post by gx on May 28, 2019 16:08:56 GMT
hey Boot.. Nice work! Moody, with some surprises. I just flowed w it. A bit reminiscent of Chet Baker- when he gets moody... The bass solo offered a wonderful counterbalance.. I didn't notice the 'crunchy' in the opening few minutes - just thought -'bluesy'.. as it went on, i thought some of your modulations quite lovely. Curious, I heard a pure C triad in there - naked... (somewhere in the middle).. hum.. It did for me call attention to itself.. couldn't figure the logic here.. I could here this piece as part of a soundtrack.. Thanks for posting, Boot!
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Post by BootHamilton on May 29, 2019 19:22:06 GMT
hey Boot.. Nice work! Moody, with some surprises. I just flowed w it. A bit reminiscent of Chet Baker- when he gets moody... The bass solo offered a wonderful counterbalance.. I didn't notice the 'crunchy' in the opening few minutes - just thought -'bluesy'.. as it went on, i thought some of your modulations quite lovely. Curious, I heard a pure C triad in there - naked... (somewhere in the middle).. hum.. It did for me call attention to itself.. couldn't figure the logic here.. I could here this piece as part of a soundtrack.. Thanks for posting, Boot! A "pure C triad"!!! HORRORS! How'd that slip in there? I must be more vigilant, lest my jig ends-up up. Thanks for listening and responding, Greg. Glad you found some flow. Makes it all worthwhile.
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