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Description
For Counter-bassoon, Piccolo Trumpet, Clarinet, Piano, Bass Guitar and percussion.
I set out a few rules for myself in this tonal piece: starting in 4/4, moving on to 5/8, 7/8, 9/8 in order to finish in 3/2, at some stages sticking to the notes found in the Phrygian mode: F and D; and Melodic Minor scales: D and A sharp.
The title and inspiration for the music refers to a recent trip in Italy. I flew to Rome and took the train up to the town of Assisi.
The score can be found on my homepage at sibeliusmusic.com
I set out a few rules for myself in this tonal piece: starting in 4/4, moving on to 5/8, 7/8, 9/8 in order to finish in 3/2, at some stages sticking to the notes found in the Phrygian mode: F and D; and Melodic Minor scales: D and A sharp.
The title and inspiration for the music refers to a recent trip in Italy. I flew to Rome and took the train up to the town of Assisi.
The score can be found on my homepage at sibeliusmusic.com
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... I'm curious, did you also determine before recording where the instruments would appear in the stereo space, or was that done later?
I'm always curious how deliberate composers are in their methodology and what they leave to chance or determine during the mixing phase.
Of what I am familiar with, this sounds very much like Frank Zappa's more relatively non-repetitive non-song-oriented synclavier pieces (or Project X off of Uncle Meat). Frank no doubt picked this up from other composers with whom I am less familiar, like Xenakis or Boulez.