Difference between revisions of "Rwong"
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My original idea was to enhance the chord progression maker I made from Music 220B. But upon realizing that Music 220C might be my last chance to make a composition, I've decided to put that idea off for now and instead think about creating an electronic music response to the first movement of Beethoven's Symphony No. 5, composed mostly in Chuck. | My original idea was to enhance the chord progression maker I made from Music 220B. But upon realizing that Music 220C might be my last chance to make a composition, I've decided to put that idea off for now and instead think about creating an electronic music response to the first movement of Beethoven's Symphony No. 5, composed mostly in Chuck. | ||
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| + | ==Program== | ||
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| + | Untitled | ||
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| + | A electronic orchestration of the first movement of Beethoven's Symphony No. 5 using ChucK. | ||
==Files== | ==Files== | ||
Revision as of 01:48, 5 May 2011
Contents
Project Idea
My original idea was to enhance the chord progression maker I made from Music 220B. But upon realizing that Music 220C might be my last chance to make a composition, I've decided to put that idea off for now and instead think about creating an electronic music response to the first movement of Beethoven's Symphony No. 5, composed mostly in Chuck.
Program
Untitled
A electronic orchestration of the first movement of Beethoven's Symphony No. 5 using ChucK.
Files
Current Ideas
- I want to write a piece that doesn't just reflect its musical characteristics, but also reflects the reputation it has developed. Maybe I should consider incorporating material from composers after Beethoven as well?
- The HevyMetl and BandedWG will most definitely be in the piece.
- I want to use panning at some point in the piece.
- I do not plan to have a chord texture as thick as in the original. Having multiple instruments play chords takes a long time--and isn't terribly original.
Current Questions
- To what extent should this piece a (1) re-orchestration, (2) an arrangement, and (3) an response that is highly contrasted with the original overall?
- The original's opening is extremely important and distinctive. It's also quiet assertive and loud. Should my opening be assertive and loud as well, or would it be more interesting to make it mysterious and quiet?
- The original work can create an intimidating effect by having all of the instruments play. Can I achieve a similar ff effect in Chuck?
- Should fermatas be hardcoded into the Chuck file, or should they be held for as long as the person running the program wishes? (The person may press a key to end a fermata)?
Timeline
- Week 2: Present idea and get feedback.
- Week 3: Have preliminary outline of form and orchestration.
- Week 4: Implement first quarter.
- Week 5: Implement second quarter.
- Week 6: Implement third quarter.
- Week 7: Implement fourth quarter.
- Week 8: Revise.
- Week 9: Present final work for final comments
Week 3 Update (4/12)
- Instruments: HevyMetl, BandedWG, ModalBar
- Preliminary Ideas of Form (I'm learning toward the first idea):
- Keep form same. This is more of a re-orchestration.
- Play entire exposition from original piece, play different development, play same ending.
- Or make piece so different that audiences don't experience break of expectations.
- Implemented the first few bars of exposition.
Week 4 Update (4/19)
- Got past first forte section
- Things to Work On
- The Mandolin sounds weak in the high register. Consider using an envelope/cross fade to transition between instruments, or change Mandolin parameters (maybe pluck position?)
- Lower gain of instruments so that crackling is not heard.
- Think about whether or not / how to have the Mandolin do slurs and staccato. One suggestion is to have an envelope that gradually changes the pitch.
Week 6 Update (5/3)
- Finished exposition
- Chris's suggestion: Look into Wendy Carlos's Switched on Bach
