Recent discourse and research have and continue to examine how the loss of sonic diversity in wild sounds, due to species extinctions and industrial noise pollution, are cutting off human connection to the Earth in a slow, solemn and unconscious process. Remnants of a Resonance explores this concept through the unique duo pairing of the flute and bassoon, playing with registral, timbral and articulative nuances across a narrative of initial explorative unity, flowing urgency of reality, and fragmentation of what once was. While sound is innately and importantly ephemeral, an extinction-induced silence is not – the more we continue to abuse our Earth’s resources, the greater the [sonic] loss.

Dedicated to Christine & Sam.

TIMING: ~4.5-5 minutes

This work was specially composed for flute and bassoon duo of Simone Maurer and Lyndon Watts.

World premiere performance by Simone Maurer and Lyndon Watts on 21/05/2024 in ‘Contrasts: Music for Flute and Bassoon’ at Hanson Dyer Hall, as part of the 2024 Hanson Dyer Hall Series presented by the Faculty of Fine Arts & Music, University of Melbourne.

Remnants of a Resonance (2024)(duo for flute and bassoon)(LIVE)(Simone Maurer & Lyndon Watts)

Anyone interested in performing/recording any of the works posted here please send me a message.

Joe

Violinist, pianist, chamber and orchestral musician, devoted to composing neo-classical music. 

I want to weave a gentle, emotional orchestral language, that speaks about live and touches the heart. I try to capture these ephemeral, timeless, and moving moments, transcribing them with devotion to sound and recording them in the sound studio.

The music creations are a testament to the value of retreat,
where silence gives birth to the most profound expressions, contrapuncting the noise of our world.

Thanks for your kind listening and commenting !
Helmut / HELMUTunes

Avid problem solver. Award-winning creator. Entrepreneur. Tv evangelist. Friendly troublemaker. Extreme bacon fanatic.

There is a great community here. I really enjoy listening to your music. I'm also happy when someone listens to mine :)

Please help support ALL types of new Classical music by following this page.  The greater the following the more exposure reposts of new music in the genre receive including any reposts of yours. There are very few if any pages  dedicated to reposting new classical music.  So please support the cause by following.

Once you FOLLOW this page, you can send a message of a track you would like to be added to this moderated Classical Music Repost.  This can be either your own work or a track of another composer you'd like reposted.  Upon acceptance, your track will be reposted.  Feel free to send additional tracks in the future too, but space sending them out by a few days or more.  Thank you  so much.

Thanks for listening: I am always very grateful for your open ears and minds.

For more streaming sites:   https://hyperfollow.com/allenkwright

I am a composer and producer of instrumental music in several genres, including ambient soundscapes, electronica, orchestral and chamber music.  

Musical influences include John Coltrane, Igor Stravinsky, Gustav Holst, Claude Debussy, Maurice Ravel, Tangerine Dream, Robert Prince, Frank Zappa, Brian Eno, Heinrich Ignaz, Franz von Biber.

My Method of Composing and Producing
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I'm sharing my method of composing and producing music recordings in case other composer-producers like me might find ideas worth exploring in their own work. I use this method for Classical, Avant-Pop or Neo-Folk Instrumental genres, not for Ambient and Soundscape pieces. Non-composers might find this explanation interesting, but having a bit of music theory background will definitely help. I consider myself a humble learner when it comes to music theory. 

I owe a debt of gratitude to British musician and educator Gareth Green, whose Music Matters online courses and free YouTube lessons have taught me so much over the past few years. Thanks to his instruction, I’ve moved from struggling to compose music by trial and error to something more enjoyable and productive. The knowledge I've gained has taken my work in new and expanding directions. As the saying goes, “Theory is not a cage — it’s a map. It doesn’t make the journey for you, but it keeps you from getting lost.” 

When I start a new piece, I begin by choosing a key, and picking a scale drawn from one of these sources:
 
1) Western Tonal / Functional Harmony - major or minor chords I II III IV V VI VII
2) Modal Harmony - Dorian, Phrygian, Lydian, etc.
3) Slonimsky's "Thesaurus of Scales and Melodic Patterns" 
4) Messiaen’s "Seven Modes of Limited Transposition" 

For many pieces, I also decide on a progression, one as a simple as I IV V, or something more elaborate.  

Next I create a "scales and progressions" piano track in my DAW (digital audio workstation software) and enter the chords I to VII in my chosen key. These harmonized scales serve as a basis for writing multipart harmonies and finding pivot chords for key modulations. 

At the start, I know what instruments I want to use, making adjustments along the way. I tend to write chord parts first, then melodies created through a mix of improvisation and direct input in the DAW. Sometimes I start with a melody.

I develop melodies and variations of a phrase by some combination of: a) passing it from one instrument to another, transposing it by an interval that sounds pleasing, b) reversing it, c) inverting it around the tonic (first) note of the scale. These are well-known methods. 

After completing a section, I choose another scale and maybe a new key and repeat the process until I have a draft of the entire piece. Then I export a recording and listen to it “offline”, take notes of errors and new ideas, and incorporate them back into the piece. Often this “compose / listen / compose” cycle is repeated many times. These iterative cycles include adding new ideas, polishing transitions between sections, changing the arrangement, and incorporating expressive details like accents, and articulations (staccato, sustain, portato etc.). I’m often working several different pieces at once. 

Last is mixing and mastering: balancing the loudness between instruments and adjusting elements like reverb, compression, and equalization. I tend to mix as I compose, even though many producers frown on that approach. I find mixing as I go helps me envision the completed piece and make adjustments to the choice of instruments; it self-inspires me when the piece is starting to sound good.  At the end I do a final mix, but as the saying goes, “A mix is never finished — it’s surrendered.”

In the end, this method gives me a basis for exploration and creativity and helps me stay focused. The goal is always to make a piece of music that feels expressive, cohesive, and emotionally resonant.

I teach in US higher education (in a STEM field) for a living & am a hobbyist composer writing in a few different styles. I recommend headphones. All of my music is released under a Creative Commons Attribution/Noncommercial license.

My bandcamp page is getting out of date again, but some older albums there can be downloaded for free or for a name-your-own price donation.

If anyone wants to try performing any of this stuff on real instruments please send a message and I can provide scores. Not sure how playable some of it is for human musicians though.

Unsolicited messages asking me to listen to your latest song will lead to you being blocked unless if I know you well and we've interacted a lot.

Hope you enjoy and thanks for visiting!

A piece of music is a mentally constructed entity, of which scores and performances are partial representations by which the piece is transmitted.
(Fred Lerdahl & Ray Jackendoff)

Any tone can succeed any other tone, any tone can sound simultaneously with any other tone or tones, and any group of tones can be followed by any other group of tones, just as any degree of tension  or nuance can occur in any medium under any kind of stress or duration. Successful projection will depend upon the contextual and formal conditions that prevail, and upon the skill and soul of the composer.
(Vincent Persichetti)

Music is a system of signs composed of complex forms which may be represented by physical sounds, and which in this way mediate between mental and psychic contents. To deal with such a system, semiotics are naturally evoked. To describe these forms, mathematics is the adequate language. To represent these forms on the physical level, physics are indispensable. And to understand the psychic contents, psychology is the predestined science.
(Guerino Mazzola)

Composer & Flautist | Juris Doctor Graduate | Changing Wilds Ensemble | Aether Duo | Wattle Fellow
www.roberttmcintyre.com

Robert McIntyre is an award-winningAustralian composer based in Melbourne. Please direct any enquiries to: rtm.composition@gmail.com

FB: https://www.facebook.com/roberttmcintyrecomposer/
Insta: https://www.instagram.com/roberttmcintyre/
LinkedIn: http://www.linkedin.com/in/roberttmcintyre
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Remnants of a Resonance (2024)(duo for flute and bassoon)(LIVE)(Simone Maurer & Lyndon Watts)

Robert McIntyre – Composer