Thread: Ambiance

Originally Posted by Aramis

So if you would be sleeping in mystical forest one day and by evening you would be awaken by Apollo and he would tell you GREEDINGS... ONLY MASTERS OF ART CAN SLEEP IN MY MAGICAL GARDEN... SHOW US YOUR MUSIC AND I, WITH MY MUSES, SHALL JUDGE IF YOU'RE WORTHY and then from the bushes there would come out all those awesome ladies fresh as spring dressed in light white robes gently moved by the wind and what, you would show them something like that, I'M ASKING YOU MAN, WOULD YOU SHOW THEM THIS PIECE

yes...but good thing that would never happen.

Originally Posted by violadude

Every thing you heard in that piece was a note.

Technically, the same is true for traffic jams

Originally Posted by Couchie

Technically, the same is true for traffic jams

Exactly! Now you are thinking like a John Cage enthusiast!

But jokes aside, it is not exactly the same. Every sound you heard in my ambiance piece was an exact pitch. Of course, exact being defined by our standard tuning system. However, the sounds in traffic are usually made up of approximate pitches. Nice try though. On second thought, the horns of a car can be fairly exact pitches sometimes, but then they would be notes...and therefore you should like it...right?

Hey guys, since a lot of you said I needed to expand the piece, I did so on my own time, without the constrictions of a school assignment. I added a few more minutes on my ambient piece and renamed it "Birth, destruction, rebirth" I think the three "sections" of the piece regarding the title are fairly obvious. What do you guys think of the new version? The only sounds that are used are still just my voice and my viola.

http://www.youtube.com/watch?v=Bf5W3d1ppPs

Both intellectually stimulating and aesthetically pleasing, as usual.

Originally Posted by Kopachris

Both intellectually stimulating and aesthetically pleasing, as usual.

Thank you

Thanks very much for sharing.

I liked them both, both of them are different.

I think I preferred the first one, for it's brevity and more tighter feel.

The second one was or sounded chaotic to me, much like a wild feeling, and it made Aussie Surrealist painter, the late James Gleeson's images come to mind. HERE is an example. I often think of music in a visual way, either with just my own inner visions or the actual visions of artists, painters, etc. Your second piece came across as like a surreal landscape to me, at least on this first hearing...

Well done. I'd like to suggest when you have a drone, as here, and have clearly then laid / improvised enough events around it, that you check the possibility of dropping the volume on the drone to bring the events to the foreground. It is also easy for me to imagine here the drone in this one cutting off abruptly, in alignment with a certain patch of multiple activity of the other rhythmic and pitch events, as if the orchestra had gone tacit in a multi-instrumental ensemble concerto. It is highly 'dramatic' and could be heard to launch the other events, with the drone coming back in after a bit. The listener's perception , even hearing the drone and the other events together again in the same balance, will be tipped to the other events still in the fore.

an exchange of roles is another possibility, trading of drone to the pitch variety of the other events and vice versa.

Yes, lol, pitched or non-pitched, they're all tones.
Any two discrete tones, pitched or non-pitched, are harmony / harmonious.
"Atonal Music" is, literally, an oxymoron. O
Organized sound, fixed or notated, (I suppose even random improv - essentially 'man made') is music.

Now, how to get that through to 'the plebes,' who always start spluttering about melody, 'harmonious' and all the rest???