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Thread: My Symphony Three

  1. #61
    Senior Member beetzart's Avatar
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    Quote Originally Posted by Crudblud View Post
    I actually really like that song.
    Seriously? I am willing to see if he can write a symphony, but his songwriting is atrocious, horrendous, awful.

    Sorry.
    I love Muzio Clementi's music.

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  3. #62
    Senior Member Crudblud's Avatar
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    Again, I appreciate humour, and that song seems very humorous to me. Unfortunately Billy seems unwilling to engage us in conversation, so I doubt we'll ever know his intention.

    Anyway, I would say it is his best work, which might not be saying much but I'm just being honest.

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  5. #63
    Senior Member beetzart's Avatar
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    Quote Originally Posted by Crudblud View Post
    Again, I appreciate humour, and that song seems very humorous to me. Unfortunately Billy seems unwilling to engage us in conversation, so I doubt we'll ever know his intention.

    Anyway, I would say it is his best work, which might not be saying much but I'm just being honest.
    Fair enough. Perhaps unbeknown to us this is the way music will be in the future, and we better get used to it!
    I love Muzio Clementi's music.

  6. #64
    Senior Member Crudblud's Avatar
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    Well, better that than Jamiroquai.

  7. #65
    Senior Member Billy's Avatar
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    Classical Symphony Twenty:

    http://www.youtube.com/watch?v=aodvqCy0kPM

  8. #66
    Senior Member Billy's Avatar
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    Classical Symphony Twenty-One is more experimental than Twenty, which I feel is a very good one:

    Here it is:

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

    I know I am trying to do much, but I have been blessed with much time, and much time goes into making each piece. Others are right when they say I am using technology, a MIDI sequencer, to make scores and songs. For me it is a blast as I love making, sharing and listening to the music that happens; and no, I am not an unhappy person as someone suggested. I consider myself the mildest of men. Maybe, I will reach 100 symphonies one day. For me the music is worth it, regardless of the moralisms which come from some directions. I think of my music as American Romantic, a rough kind, yet do not think of it as neither sentimental, nor sincere. Thanks for your comments. I have been reading them and thinking about them.

  9. #67
    Senior Member Lunasong's Avatar
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    Billy,
    Do you ever play your symphonies more than once? Are they firmly set on paper or are they open to further development? I'm glad you get much enjoyment out of making music and sharing it.
    "To be a musician is a curse. To NOT be one is even worse." Jack Daney

  10. #68
    Senior Member Billy's Avatar
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    I like to be open to new ideas of revision if they come. I play my symphonies many times, although some of what I hear in them is still a mystery for me. I like the harmonies and changes very much, especially during my second movements. Thanks for listening.

  11. #69
    Senior Member juergen's Avatar
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    I like most of your symphonies. Reworking them would probably not make much sense. Maybe you could create a "best of" symphony where you integrate the best parts from all of your symphonies into a new one.
    Last edited by juergen; Aug-09-2012 at 07:00.

  12. #70
    Senior Member Billy's Avatar
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    Classical Symphony Twenty-Two:

    http://www.youtube.com/watch?v=wjCmWeQrI5Y

    Yes, I plan on doing a best of my best one day.

    On this symphony I especially like the third movement, where I played it quicker, and hit the bass notes less often with my left. As in the last two or three, I used less repetition for many parts. And, the change I made with my style of playing overall in this symphony twenty-two was to use an octave stretch on my left more than I usually do, and a less major chord riffs, which I don't usually use, but I pretty much eliminated them altogether from this one. I also, like I did with twenty-one, used a metrodome when recording this time. The freestyle was a typical way I do when I play regular instrumental rock or jazz with my synthesizer alone and live. I did not however with this one get too loose.
    "If a Musical Piece and a Critic’s head collide, and there is a hollow sound, is it always the Musical Piece’s fault?” - variation on a quote by Lichtenberg

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  14. #71
    Senior Member Jeremy Marchant's Avatar
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    Quote Originally Posted by Billy View Post
    On this symphony I especially like the third movement, where I played it quicker, and hit the bass notes less often with my left. As in the last two or three, I used less repetition for many parts. And, the change I made with my style of playing overall in this symphony twenty-two was to use an octave stretch on my left more than I usually do, and a less major chord riffs, which I don't usually use, but I pretty much eliminated them altogether from this one. I also, like I did with twenty-one, used a metrodome when recording this time. The freestyle was a typical way I do when I play regular instrumental rock or jazz with my synthesizer alone and live. I did not however with this one get too loose.
    So these are keyboard works, then...?

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  16. #72
    Senior Member Billy's Avatar
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    Yes, Jeremy, to do a symphony I compose and improvise live, and edit later in various ways.

    Here is what one of my goals is by making a symphony. Each different symphony for me tells a different story. I have just heard my symphony twenty-two again and I have taken notes as to what I was trying to do in order to explain it better. So here it goes.

    The first movement separates into three parts chronologically. The first part, introduces the icon of a great presence creatively separating a structure with a foundation in the musical narrative. Then, for the second part, I create a timidity and uncertainty which questions another theme of incomprehensible outrageousness. These ideas lead to the third part of the first movement where a conflict between beauty and the inevitable on one side and insecurity and inferiority on the other is won by the beautiful and inevitable. This ends the first movement's instrumental narrative.

    The second movement has four parts in chronological order: one, an intoxicated resting from and after one's creativity; two, the great building up of the memory and for the memory; three, a return of the great presence and its outrageousness; and four, a feeling that stubborness is fighting what was inevitable before and what still continues to be occurring in the nature of things.

    The fast paced third movement has two narrative melodic orders: one, the introduction of the sublime into a playfulness and spiritual fun. And, two, the beginning of a flight from the destructiveness of prophesy.

    I have made the final fourth movement to represent finally two more themes in the melodic narrative: first, a new flight into a serious freedom from bad society. And, second, I end my twenty-second symphony with a theme of one who is clever and who is good wrestling in a match to delay the incomprehensible and inevitable.

    That is it in a nutshell. I doubt others will be able to see the symphony the same way as I do, since everybody hears something different than everybody else, but maybe there is use in this interpretation I made, and perhaps more to come for my next symphonies.
    "If a Musical Piece and a Critic’s head collide, and there is a hollow sound, is it always the Musical Piece’s fault?” - variation on a quote by Lichtenberg

  17. #73
    Senior Member Billy's Avatar
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    Classical Symphony Twenty-Three:

    http://www.youtube.com/watch?v=H4FnWCQaGsg

    In this one I sped up my live playing during recording of the MIDI data. Especially in the fourth movement I was very loose and comfortable. As in the last symphony, I was also sparse with my left's bass notes. That's it pretty much. When I am loose, I hardly know what I am doing, however, it works, at least for me.
    "If a Musical Piece and a Critic’s head collide, and there is a hollow sound, is it always the Musical Piece’s fault?” - variation on a quote by Lichtenberg

  18. #74
    Senior Member juergen's Avatar
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    Wow, Billy, absolutely mesmerizing this one, especially the second and the third movement. I like the second movement most. The only criticism I can say is that the consonant ending of the first movement seems to be a bit misplaced.

    BTW: I recommend to listen to these symphonies at a good stereo system and at an adequate volume level. Gives a completely different impression.
    Last edited by juergen; Aug-09-2012 at 19:07.

  19. #75
    Senior Member Billy's Avatar
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    Thanks Juergen for your comment and tip.

    Here is the next.

    Classical Symphony Twenty-Four:

    http://www.youtube.com/watch?v=x6K8O2x7EJQ
    Last edited by Billy; Aug-09-2012 at 22:39. Reason: misspelling
    "If a Musical Piece and a Critic’s head collide, and there is a hollow sound, is it always the Musical Piece’s fault?” - variation on a quote by Lichtenberg

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