“Now that you’ve completed your comp degree, some advice: really, write for whatever you want. Except, well, for the organ. Don’t write for that… it’s impossible to figure it out.” A friend once told me his comp professor (at a mid-west school that will remain unnamed…) rather unceremoniously offered this as advice. Being an organist,... Continue Reading →
Matthew Kennedy's "Until I Say 'When'" is a breathtaking exposure of space, timbre, and mood, that is both playful and hypnotic.
Fascinating array of sounds, excellent use of panning, clearly separated sounds and frequencies, great recording quality, clearly knows exactly how to achieve the sound the composer desires
Hi All, I just finished a large wind ensemble commission, parts and all, so I wanted to let you know what posts you can expect on Composer's Toolbox now that I have time to write: More on the series of Steven Maheu's Elements of Creative Force The first of a large series featuring the selected... Continue Reading →
Formal Economy It is apparent from my previous post that Yngwie Malmsteen's sound world is one of repetition and sparse, but effective, gestures and sonorities. Here I will expand on this to note the formal economy in his "Crucify". The opening riff is played 2 times with drum and bass introduction, and then looped 4... Continue Reading →