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Thread: 'Kajo' for piano and electronics

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    Default 'Kajo' for piano and electronics

    Here's a sibling to my other piece 'kharon' I posted here a while ago. This one has a 4.1 surround tape, which is divided into cues, which the pianist starts when he/she arrives to a certain spot in the score. I wanted to create some kind if quasi-concerto for piano with electronic 'orchestra' with a very limited material. Most parts of the piece are based on a simple trichord, which consists of a minor second and major and minor third (and their inversions) . In fortean pitch class set that would be called (014). In the middle of the piece, I wanted more consonant landscapes and used major seconds and perfect fourths.

    The material in the tapes was created with a mixture of subtractive- and fm-synthesis.

    Performed by Emil Holmström - Piano & Timo Kurkikangas - electronics


    https://soundcloud.com/pekka-koivist...-koivisto-kajo

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    Senior Member Larkenfield's Avatar
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    Bravo! Well done. It held my interest to the end and it didn’t sound like it was an easy piece to perform. After hearing it one time I’m not sure I was reminded of a piano concerto, but maybe when I hear it the next time. It had a little bit of darkness in it but overall was not oppressive or depressing; in fact the opposite. Very well done. I’m wondering if a third piece will be coming forth? Keep composing.
    Last edited by Larkenfield; May-06-2018 at 00:14.
    Don’t think. Thinking is the enemy of creativity. It’s self-conscious, and anything self-conscious is lousy. You can’t try to do things. You simply must do things. —Ray Bradbury

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    Thank you for your comments Larkenfield!

    You're right, it's definitely a difficult piece to perform, especially because the player is almost all the time tied to a click track. In the future, if I write for electronics a and acoustic instruments, I would either make it with live electronics or compose the tape in a way that it allows more freedom for the performer. I like the ending result but the truth is, it's not the most comfortable piece for the pianist. Luckily for this project, i was able to have the amazing player you hear here performing and thus there were really no technical limitations.

    About not hearing concerto-elements, I think you're right, it does not follow any standard pattern of a concerto, nor it really alternates between ritornellos or solos. However, I was trying to write this somewhat flashy texture for the player and that's where the concerto-idea comes from. However, one could maybe say that this is a sort of a piano sonata with "orchestral" accompaniment.

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    Senior Member Phil loves classical's Avatar
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    Is it serial? Just wondering how you compose in such an atonal fashion?
    "Forgive me, Majesty. I'm a vulgar man. But I assure you, my music is not.“ Mozart

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    It's not serial in a way that I would use a tone row or some matrix to control the music's parameters. However I was very strict in sticking with the trichord I mentioned earlier and avoided any tonal conventions or close approximity of a certain note in different registers. I guess you could call it free atonal, which I think is a bit stupid term, since for example many of schoenberg's free atonal pieces are in fact very carefully constructed. Elliot Carter used similar method as I have in building up the music's material from a certain pitch class, so maybe that would come close (although my music is quite different from his)

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