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New Composer - Inner Version

Discussion in 'Submission Room' started by InnerVersion, Nov 22, 2009.

  1. InnerVersion

    InnerVersion New Member

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    I've been using Pianoteq for the whole range of pieces so far, v3 or later for most of the pieces but v2.5 for my first piece Midnight Rain, which sounds a little brittle but oddly seems to sound better than on the richer sound of Pianoteq v3 and later.

    Well you certainly stumbled on something there, you are correct in more ways than one :)

    I have a limited number of free invites to the full details on my compositional technique still available (see http://www.innerversion.com/forum.php for details). Please email me at info@innerversion.com if you would like one of the last free invites - in about a week's time they will cost £99 for a lifetime membership.

    Some interesting analysis of Debussy as well, thank you, I've not looked extensively the modal aspect of his music before, although his preludes such as "La fille aux cheveux de lin" and "La cathédrale engloutie" have probably had the most influence on me out of all of his work and those pieces have a lot of pentatonic and modal harmony (so perhaps those sort of structures rubbed off on my work indirectly).

    Chris
     
  2. glenn

    glenn New Member

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    Thanks, I will keep that in mind. Sounds terrific on my speakers, though admittedly not high tech.

    A teacher of mine once said, "Nobody discovers anything in music. Everything is always there, it is just a question of using it or not." But some composers seem to be particularly attracted to novelty. I have always felt that Moussorgsky, in particular, wrote this way, and really enjoyed breaking rules. (Debussy loved to break rules too, but he was very organized.) Berlioz has this feeling often, but he was just VERY creative. I feel that he gets distracted/inspired in the middle of phrases (drug takes effect), but he usually works everything out.

    You are SELLING the details of your compositional technique? People are paying £99 to be in a compositional forum? I am astounded. (P.T. Barnum was right!) Maybe I am missing out on something here. Actually, what you are doing in your pieces is not a mystery, but I was just wondering whether you were an improviser, as I have become. The "concentrational imperative" of improvisation seems to betray one's true "inner vision". I have used a number of compositional techniques over the years. I have devised them as a means to come up with my envisioned music, whatever that may be. However, it really is a case of "whatever turns you on", because in the long run it doesn't mean anything. The music is everything. Best of luck in your endeavors.

    Glenn
     
  3. InnerVersion

    InnerVersion New Member

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    All I can say is that this is genuinely groundbreaking, and no, it has nothing to do with improvisation really (that's only a very small part of it), the core technique is much more mathematical than that. Please don't comment until you actually read about the technique (email me for a free forum invite).

    I'm charging for it because not many people are actually buying my albums, and I'd love to make some sort of income from music so that I can carry on doing it full-time. I could easily justify charging £300-£400 or more for the technique, as it has been used to generate every Inner Version piece so far (and all pieces in future), and can easily be adapted to any other musical style (or instrument).

    Also, I'll be stunned if you have genuinely worked out exactly what I'm doing, as no one else has figured it out yet by themselves, even though there are loads of clues of varying subtlety, including some cheeky ones earlier in this forum thread (!).
     
  4. musical-md

    musical-md Active Member Piano Society Artist Trusted Member

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    Well this is sounding more and more like an algorhythmic process or function-based procedure. Perhaps what we need is code-breaking, rather than musical analysis.
     
  5. glenn

    glenn New Member

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    The last 50-60 years, "process" music has become quite common. First with total serialism, and then, with minimalism, process music went mainstream. Probably a majority of the composers I meet use some sort of process to generate their music. Some are mathematical, some are not so much. They all use some sort of formula. The best use their process to generate material or a "first draft" and then use their intuition and technique to shape the result into a musical work. I have used processes for most of my career. In a sense, using improvisation as a first draft is also a process, albeit a rather organic one. At some point, all composition is a process of some sort: Bach, Beethoven, Chopin, whatever. The real art comes in molding the music. Be mindful of some of the reservations I expressed concerning timing and momentum. If these are "process" errors, they need to be refined.

    How to make a living is the cross all composers bare. Most make their living by playing, teaching, copying, or even administrating. Very few make a living composing. What you are doing online is really no different than teaching private lessons or classes. You might make more if you actually give advise online, sort of a virtual master class. You have a right to charge what the market will bare. Good luck.

    Again, what you are doing "musically" is not a mystery. The generation process is not particularly important, except if it LIMITS you musically. What I have found with processes is that they tend to have boundaries within which they normally operate. After a while, those boundaries become tedious to even non-musicians. If you can use your process to generate creative OPPORTUNITY, you will be alright. But be careful, as you seem to be falling into a bit of a rut. It is best not to take your processes too seriously. Keep at it, you have obvious talent and enthusiasm.

    Best wishes and happy holidays,

    Glenn
     
  6. glenn

    glenn New Member

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    Ha! We composers do tend to fall in love our techniques, but I don't think he's going "New Age Xenakis" on us quite yet!
    Best -
    Glenn
     
  7. InnerVersion

    InnerVersion New Member

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    Yes this is true, *however* the process I've invented is extremely powerful. To my knowledge, my technique has never been used before 2009 - I'm still stunned that it hasn't, but I've been searching for 2 years and yet to find any evidence.


    Well yeah I've written a guide to my technique in the forum, but you still seem to be missing the point. Don't assume that every composition method has already been discovered, and don't assume that some composition methods aren't very powerful indeed.

    Sorry if I'm being slightly abrupt, it's just that I stumbled on this technique purely by chance, spent the last 2 years developing it, spent the last week or two working flat out on a clear and easy to read guide, and you dismiss it as though it's nearly worthless even though you have no idea what the technique is (!).

    I've offered you a completely free forum invite which won't be available in about a week's time, I'm puzzled why you are resistant to take up the offer?


    The process doesn't provide any limitations in practice, and you'll change your mind completely about it not being important once you read about the technique.

    I'm not saying any more about the technique now Glenn, it's your loss if you don't take up a very generous free invite. :p
     
  8. InnerVersion

    InnerVersion New Member

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  9. musical-md

    musical-md Active Member Piano Society Artist Trusted Member

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    <Post moved to your new thread on the Composing forum>
     

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