There was something so innately constant about the expansive surroundings of the Denali National Park & Preserve, despite it being unique from every angle. The distance between the beginning and end of a hike in the Denali's mist meshed into a sublime yet hazy memory, as if we almost can't, even to this day, truly comprehend what we witnessed. 

~ Dedicated to Katy Abbott, who continually inspires me in learning and in life ~

This work was written for Corvus Ensemble and the Fairbanks Summer Arts Festival as part of Composing in the Wilderness 2022.

This work received its joint-world premiere performances by Corvus Ensemble on the 30th and 31st of July 2022 at the Fairbanks Summer Arts Festival and Denali National Park and Preserve Visitor Centre respectively.

Composed in Denali and Fairbanks, Alaska, USA.

***This work was awarded the 2022 David Henkels Composition Award by the Musical Society of Victoria.

© Robert McIntyre 2022 roberttmcintyre.com

the distance between (LIVE)(flute/alto flute, alto sax, cello & vibes)(2022)(Corvus Ensemble @FSAF)

When I write music, I try to go on a journey to feel emotions, whatever they may be.  To me, music is a celebration of life; for all the pain and suffering we may endure, it is a gift to be alive. 

I hope music can take you on journeys of your own to places where you may want to be.  Thank you for listening.

 *** If you'd like To REPOST a Classical Music Track, submit it to Classical Music Repost: soundcloud.com/classical_music_repost ***

If anyone is interested in performing any of my works, please let me know.  I have scores available for some pieces and would gladly create the score for other works.

Curly Compositions from a German Composer.

Hey I'm Christine, a composer and tea enthusiast :)

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
------------------------------------------
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.

Beside improvising and meeting the moment ,I bring my poetry in a sferic  of sound , interaction of fibration , using a variety of instruments .

www.henrykoek.com
www.maisonbleuecollectifartistes.com
henry.koek1956@gmail.com

My Soundcloud Collaborations :

- @a-cutteridge
- @ankea-collaborations
- @arnold-cabott-again....
- @Darius-improvise
- @edafraux
- @free-variety-theatre 
- @Henri-Roger
- @kamikuma
- @mcirab
- @nos-namajs
- @popropo-goes-collab
- @Urban-BallShit
- @vascomorais
- @KONOKUNOK
- @RoNniE-Free-Improv 
- @letterfounder
- @meshmass
- @Yellow-Salamandr7
- @Bruno-Gussoni
- @laurent-avizou
- @Lutz-Thuns
- @Augenmerk
- @Unearth-Noise
- @STMD-"Steve-the-Mad-Drummer-SteveMauro
- @numbersinthedream
- @unstable-range
- @jwiedenfeld
- @Wilfried-Hanrath
- @Guy-Frank-Pellerin-1
- @King-Imagine
- @Wodwo   Derbyshire-United-Kingdom 
- @re-evolution_cafe

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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Naviar is a music community and label. Through regular publications, open projects and events, we explore the connection between experimental music and traditional Japanese poetry.

To join the Haiku challenge, visit https://www.naviarrecords.com/about/naviar-haiku

I'll follow you back when SC lifts the follower limit (!)
Loving listening to everyone's music on here :-))))))))))

Minimal/contemporary improvising, playing piano and sax, electronics. Combining acoustic and electronic approaches. Working with poetry, theatre, soundtracks.

the distance between (LIVE)(flute/alto flute, alto sax, cello & vibes)(2022)(Corvus Ensemble @FSAF)

Robert McIntyre – Composer