dance notes
Form Object
Produced by: Madmusik
46 Devonshire Road
Bath, BA2 6UD. +44 (0)1225 313082
46 Devonshire Road
Bath, BA2 6UD. +44 (0)1225 313082
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2:18; slow 4/4; sombre, reflective, sad; flute, piano, strings
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Composer's Blog
This was part of a recent theatre commission: the music sets the scene for a play in which a number of children have disappeared, hence the mournful character.
The setting of the play is a non-specified totalitarian state and preceding this music is a lively neo-militaristic march, which will also be added to the library shortly. The director requested flute as there are echoes of the pied-piper story within the play and so this piece evolved from some improvisations on that instrument. I used my normal method of uncritical, spontaneous improvisation in order to find my instinctive response to the subject. I found that this immediately fell into a particular tonality, which was then adapted for the march and consolidated for this theme.
It makes a refreshing change to be composing from the melody line outwards and on a real instrument (as opposed to samples). Time constraints meant that what was intended to be an initial sketch has made it into the final draft. However, I find that the imperfections within the performance help to heighten the poignancy and also mask the fact that the strings and piano are, indeed, sampled.
Download Track
Subscribe
Composer's Blog
This was part of a recent theatre commission: the music sets the scene for a play in which a number of children have disappeared, hence the mournful character.
The setting of the play is a non-specified totalitarian state and preceding this music is a lively neo-militaristic march, which will also be added to the library shortly. The director requested flute as there are echoes of the pied-piper story within the play and so this piece evolved from some improvisations on that instrument. I used my normal method of uncritical, spontaneous improvisation in order to find my instinctive response to the subject. I found that this immediately fell into a particular tonality, which was then adapted for the march and consolidated for this theme.
It makes a refreshing change to be composing from the melody line outwards and on a real instrument (as opposed to samples). Time constraints meant that what was intended to be an initial sketch has made it into the final draft. However, I find that the imperfections within the performance help to heighten the poignancy and also mask the fact that the strings and piano are, indeed, sampled.