Saturday, September 03, 2011

Progress report on Logic, future music scoring plans; here's the score of one "Polytonal Prelude"; More on Schumann with his Triple-time marches

Well, today, I photocopied the four pages of an original polytonal prelude (D Major, E Major, sometimes F#), dated back to about 1973.  (It looks like page 2 really starts over in the middle.)

In early August, I took a “lesson” in Apple Logic Express at an Apple store in Arlington. Most of my files would not play except with the USB to the Casio piano.  We took one file and converted it to play directly. The techs ("geniuses") were Googling around to solve the “problem”.  We wound up creating a new track and converting the IO to “ESS24” if I can follow the notes.

The upshot of this is that I will need to do two things: first, to score my Sonatas and other pieces, I’ll need a more score-specific product like Sibelius or Finale, which are expensive.  The other thing is that I’ll have to wade through the Logic booklet and do everything even though much of the mixing and editing doesn’t apply to what I want to do (it would be used more by rock bands).   I expect to have this done by the first of October and be reading to purchase and use a product like Sibelius for my own compositions.

With some of my music, there is the possibility of “orchestration”, probably for classical chamber orchestra sounds. 

As with any product, it seems as though you need to learn to do everything in order to do what you want, exactly.

Here are the other pages of the Prelude: 2

Page 3

Page 4



Here’s a YouTube of a few seconds of the 1956 Sonatina in Moog.  (File 2011 is correct; File 2007, on YouTube, didn’t record any sound.)



Here’s a crude rendition of the complete Minuet from the A Major Sonatina, dated 1957 (hey, that’s the year of “Atlas Shrugged”!) 



Today, I played the Angel EMI CD (1989) of Youri Egorov playing Schumann.  The Carnaval, Op. 9, ends with that odd March in ¾ time, an oxymoron (the Davidsblunder against the Philistines).  The Toccata in C, Op, 7, opens with a familiar pattern, and comes to a curious quiet close. The Arabesque is familiar, and Bunte Blatter (“Many Colored Leaves”, Op. 99), carry Schumann’s concept of miniaturization as far as possible, within larger movements.

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