This is a video that I filmed and scored for Flow Taipei, an upcoming venture aimed at presenting parkour and fitness classes and workshops in Taipei and around Taiwan.
The music came from a 16-measure sketch that I found in my files, left over from the speed writing episode. I had a lot more left over from that project than I showed because I had several false starts. Quite a lot of that was filed away for a later date. I keep my sketches both in notation and in audio format whenever possible, even when I only have partial recordings or MIDI mockups available. The audio record makes it easy for me to review my sketchbook quickly and of course the notation greatly simplifies the task of replicating and developing a sketch in an appropriate style.
In terms of form, when I found this in my files it was just a single phrase, only what you hear within the first minute concluding with not even a half cadence but a mere suggestion of a half cadence. I went on to write out the modulating middle section in more or less the same texture and then a crude retransition. The original phrase is once again referred to, making this a tidy little bar form, and the repetition in the final minute is meant to reinforce the tonic.
I’ve included below the piano part by itself, which I think sounds much more satisfying than what you hear in the video. For the purposes of the picture though, this had to provide a contemporary sound so I added the synthesizer and booming samples just to emphasize the formal structures that were already there in the piano writing. Of course a backbeat is requisite. I felt that the drum kit by itself was dreadfully dull so the auxiliary percussion is there to try to suggest a double-time feel. The first time I sequenced that auxiliary percussion I used a slightly more subtle synthesized drum kit patch, but I couldn’t for the life of me get it to balance correctly in the mix so the tablas were the eventual outcome of a search for a reasonable sounding alternative to that instrumentation.
This is Perspective, a short film from Man and Camera Productions for which I did the soundtrack and audio editing last fall. Now that it’s been released, I’m looking back at my production notes to give you guys a closer look at the music and audio that I put into this short, so stay tuned for that.
I’d like to recognize director of photography Scott Almendinger for bringing me in on this project. We worked together previously on another short called Coming to Terms, which you may remember. It seems like more and more of my projects are coming to me through my personal and professional contacts, which, to be honest, beats the socks off of trolling through forums and bulletin boards and working with strangers. You guys, working with friends, working with people I know and trust is not only a more enjoyable experience, but also seems more efficient and more rewarding from a creative perspective.
I’d also like to recognize the lovely and talented Magali Brun-Okroglic, who sang the song that’s featured over the end credits. You may remember her from last year’s concert aria. She’s fantastic.
I was fortunate to catch Kathy Diamond and Maximilian Skiba of The KDMS on their way through Taipei on their recent tour of Asia and quiz them on their songwriting process. You can get more of them at:
Can anyone help turn this 70 year old sheet music into audio?
My grandfather composed numerous songs during and after World War II for my grandmother. He met her in England during his stay and eventually married her. We have a number of records with the music he composed, but this one was found recently without any audio recording with it.
Can anyone perform this piece, or at least synthesize the sounds in the correct tempo and pitch? I can sing, but can’t really read sheet music too well. It would be a nice gift for my aging grandmother. My grandfather passed away almost 20 years ago.
In this thrilling episode, Charlie from composerquest.com brings to light the ongoing piano shortage currently sweeping across the Twin Cities piano community. Due to unforeseen economic circumstances that I may have just made up, there are more practicing pianists than there are available pianos*. Reports on the ground suggest that some have resorted to sharing their keyboards in an effort to alleviate the disparity. With no end in sight to the crisis, Charlie has bravely organized an event to help raise awareness of the situation, for which he’s sent out a plea for new works for four hands at one piano.
Never fear, Minnesota. Mr. Wilson is here to help.
This little piece is written around this cantus firmus which lives in the middle voices:
Let me highlight the two predominant accompanimental textures that I used to illustrate what I said in the video about trying to achieve dramatic contrast under the constraint of the range limitation. In the first, we have a little bit of motion pushing us through the downbeat and a staggered attack in the uppermost voice.
In the second, the harmonies are stacked up vertically and we see an ornamental gesture in the far left hand which, in such a low register, provides more textural information than it contributes harmonically.
This last excerpt from my notes is a figure that I ultimately excluded from the piece. It’s a bit more virtuosic than the writing that ultimately made the cut, which is fine in other contexts but here I felt didn’t match the tone of the larger work. This line would also have required me to maintain this more meticulous pianistic style for quite a number of measures, which I wasn’t confident that I could pull off convincingly.
Here’s a mockup and a complete score for your perusal.
I’ve been spending some time at a club called Triangle where the booking agent has been working hard recently to build a scene for underground house music. I got wind of the place and infiltrated the club with a camera, hoping to satisfy my curiosity with regard to creativity among purveyors of contemporary dance music. If all goes as planned, this will hopefully be the first of a series of talks with club DJs on the business, practice, motivations and various complexities involved in live mixing. Stay tuned and with a little luck we may all learn a thing or two.
I have some big band music for you today in 6/4 time and without drums. I put last week’s music on Reddit’s drum forum and got a response from user /u/youngavlol who was looking for some more drumless music:
Are you open to requests?MrWilsonPresents
Absolutely, I love requests. What can I do for you?youngavlol
Awesome! Any chance you’d be willing to throw together a 90BPM (or around there) 6/4 track?
I’m happy to oblige. 90 bpm is a bit quick for 6/4 time, so I hope I interpreted the request correctly by writing 90 bpm per dotted half note rather than 90 per quarter note. There is no small amount of ambiguity to the way I chose to use the meter. The rhythm alternates betweens patterns in 6/4 and patterns in 3/2 and there groupings of fours and fives peppered in here and there. I figure that should give an ambitious drummer plenty to chew over.
Now it’s your turn Reddit user /u/youngavlol (or anybody else who cares to) to show us what you’ve got. I’ll be waiting eagerly for your response.
"Some people will perhaps wonder why I have undertaken to write about music, there being so many works by outstanding men who have treated the subject most thoroughly and learnedly; and more especially, why I should be doing so just at this time when music has become almost arbitrary and composers refuse to be bound by any rules and principles, detesting the very name of school and law like death itself. To such I want to make my purpose clear." ~Johann Fux, 1725 (tr)