Pythagoras believed that there were three types of music the music we play
three types of music the music we play
three types of music the music we play on instruments the unheard music that
on instruments the unheard music that
on instruments the unheard music that exists inside our bodies and a music
exists inside our bodies and a music
exists inside our bodies and a music created by the cosmos centuries later in
created by the cosmos centuries later in
created by the cosmos centuries later in his discovery that the orbits of the
his discovery that the orbits of the
his discovery that the orbits of the planets were elliptical Johannes Kepler
planets were elliptical Johannes Kepler
planets were elliptical Johannes Kepler ascribed a musical scale to each planet
ascribed a musical scale to each planet
ascribed a musical scale to each planet and he believed the planet sang a cosmic
and he believed the planet sang a cosmic
and he believed the planet sang a cosmic chorus as they traveled around the Sun
chorus as they traveled around the Sun
chorus as they traveled around the Sun the attempts by both Pythagoras and
the attempts by both Pythagoras and
the attempts by both Pythagoras and Kepler to find music in nature is
Kepler to find music in nature is
Kepler to find music in nature is ultimately bound by the scientific
ultimately bound by the scientific
ultimately bound by the scientific observation and can be disproven but
observation and can be disproven but
observation and can be disproven but what would happen if a composer whose
what would happen if a composer whose
what would happen if a composer whose artistic freedom was not bound by the
artistic freedom was not bound by the
artistic freedom was not bound by the rigor of the scientific method where do
rigor of the scientific method where do
rigor of the scientific method where do attempt to do the opposite to take
attempt to do the opposite to take
attempt to do the opposite to take something that is not music and make it
something that is not music and make it
something that is not music and make it musical now this idea is not new Baroque
musical now this idea is not new Baroque
musical now this idea is not new Baroque composers wrote music to evoke human
composers wrote music to evoke human
composers wrote music to evoke human effects romantic composers wrote
effects romantic composers wrote
effects romantic composers wrote programmatic music that told epic tales
programmatic music that told epic tales
programmatic music that told epic tales but what I am thinking of are the kinds
but what I am thinking of are the kinds
but what I am thinking of are the kinds of techniques pioneered by the composer
of techniques pioneered by the composer
of techniques pioneered by the composer and architect Yanis Tanaka’s who use
and architect Yanis Tanaka’s who use
and architect Yanis Tanaka’s who use mathematical formulas to generate music
mathematical formulas to generate music
mathematical formulas to generate music and a large body of my own compositions
and a large body of my own compositions
and a large body of my own compositions I take a similar approach creating
I take a similar approach creating
I take a similar approach creating systems or sets of rules based on
systems or sets of rules based on
systems or sets of rules based on concepts borrowed from mathematics
concepts borrowed from mathematics
concepts borrowed from mathematics physics and technology and I want to
physics and technology and I want to
physics and technology and I want to start with my first venture into this
start with my first venture into this
start with my first venture into this way of composing music with a piece that
way of composing music with a piece that
way of composing music with a piece that I wrote in 2003 called what hath God
I wrote in 2003 called what hath God
I wrote in 2003 called what hath God wrought now this weather ominous title
wrought now this weather ominous title
wrought now this weather ominous title is taken from the first Telegraph
is taken from the first Telegraph
is taken from the first Telegraph message that Samuel Morse sent from the
message that Samuel Morse sent from the
message that Samuel Morse sent from the US Capitol to Baltimore on May 24th 1844
US Capitol to Baltimore on May 24th 1844
US Capitol to Baltimore on May 24th 1844 and we have no idea why Morse chose to
and we have no idea why Morse chose to
and we have no idea why Morse chose to send such an ominous message but
send such an ominous message but
send such an ominous message but arguably the invention of the Telegraph
arguably the invention of the Telegraph
arguably the invention of the Telegraph marks the start of the Information Age
marks the start of the Information Age
marks the start of the Information Age or at least foreshadows it for the first
or at least foreshadows it for the first
or at least foreshadows it for the first time information could be transmitted
time information could be transmitted
time information could be transmitted from one place to someplace far away
from one place to someplace far away
from one place to someplace far away simultaneously and the code that Morse
simultaneously and the code that Morse
simultaneously and the code that Morse invented is binary a precursor to the
invented is binary a precursor to the
invented is binary a precursor to the binary systems used by computers over a
binary systems used by computers over a
binary systems used by computers over a century later from a composer standpoint
century later from a composer standpoint
century later from a composer standpoint Morse code lends itself easily to a
Morse code lends itself easily to a
Morse code lends itself easily to a translation to music we simply make a
translation to music we simply make a
translation to music we simply make a dot a short note value and a dash a
dot a short note value and a dash a
dot a short note value and a dash a longer note value and we get rhythms I
longer note value and we get rhythms I
longer note value and we get rhythms I mean Morse code is basically the
mean Morse code is basically the
mean Morse code is basically the transmission of information by rhythm
and when we convert it the word what
and when we convert it the word what would sound like this do-do-do-do-do
would sound like this do-do-do-do-do
would sound like this do-do-do-do-do do-do-do-do-do a similar approach could
do-do-do-do-do a similar approach could
do-do-do-do-do a similar approach could be applied to the pitch or what notes
be applied to the pitch or what notes
be applied to the pitch or what notes are played a dot could be two notes that
are played a dot could be two notes that
are played a dot could be two notes that are close together a small interval a
are close together a small interval a
are close together a small interval a dash could be two notes that are further
dash could be two notes that are further
dash could be two notes that are further apart a larger interval and when these
apart a larger interval and when these
apart a larger interval and when these two elements are combined the words
two elements are combined the words
two elements are combined the words become melodies for example the word god
become melodies for example the word god
become melodies for example the word god played here by the english horn bassoon
played here by the english horn bassoon
played here by the english horn bassoon an electric bass sounds like this and
an electric bass sounds like this and
an electric bass sounds like this and the word what played by the electric
the word what played by the electric
the word what played by the electric guitar sounds like this
guitar sounds like this
guitar sounds like this [Music]
now what I’m gonna do is play you a
now what I’m gonna do is play you a short excerpt of the piece so you can
short excerpt of the piece so you can
short excerpt of the piece so you can hear these things in action you’re gonna
hear these things in action you’re gonna
hear these things in action you’re gonna hear that God melody played and it’s
hear that God melody played and it’s
hear that God melody played and it’s gonna be followed by all of the
gonna be followed by all of the
gonna be followed by all of the instruments playing the entire message
instruments playing the entire message
instruments playing the entire message what hath God wrought and they’ll be
what hath God wrought and they’ll be
what hath God wrought and they’ll be playing in Canon meaning they’ll play
playing in Canon meaning they’ll play
playing in Canon meaning they’ll play the same music but they’ll start at
the same music but they’ll start at
the same music but they’ll start at different times this will be followed by
different times this will be followed by
different times this will be followed by all of the instruments playing the word
all of the instruments playing the word
all of the instruments playing the word what in Canon again but this time
what in Canon again but this time
what in Canon again but this time playing the melody at different speeds
playing the melody at different speeds
playing the melody at different speeds this recording is by my group pulse
this recording is by my group pulse
this recording is by my group pulse optional from our 2007 debut album
[Music]
[Music] [Applause]
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[Applause] [Music]
[Music]
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[Applause] [Music]
[Music]
[Music] [Applause]
[Applause]
[Applause] [Music]
[Music]
[Music] now this way of composing music built on
now this way of composing music built on
now this way of composing music built on systems really excited me for one I
systems really excited me for one I
systems really excited me for one I created music I could have never have
created music I could have never have
created music I could have never have conceived of in any other way but it
conceived of in any other way but it
conceived of in any other way but it also allowed me to communicate with an
also allowed me to communicate with an
also allowed me to communicate with an audience I mean regardless of whether or
audience I mean regardless of whether or
audience I mean regardless of whether or not an audience member knows Morse code
not an audience member knows Morse code
not an audience member knows Morse code it’s still possible for them to hear
it’s still possible for them to hear
it’s still possible for them to hear that a message is being transmitted but
that a message is being transmitted but
that a message is being transmitted but my approach was not entirely rigorous
my approach was not entirely rigorous
my approach was not entirely rigorous and as a composer I had great freedom
and as a composer I had great freedom
and as a composer I had great freedom and ever since writing this piece I
and ever since writing this piece I
and ever since writing this piece I wanted to write a piece that was
wanted to write a piece that was
wanted to write a piece that was entirely based on a system a composition
entirely based on a system a composition
entirely based on a system a composition where I could explain every note every
where I could explain every note every
where I could explain every note every rhythm every formal choice I wanted to
rhythm every formal choice I wanted to
rhythm every formal choice I wanted to write the perfect algorithmic
write the perfect algorithmic
write the perfect algorithmic composition and that came several years
composition and that came several years
composition and that came several years later with Libra bossy for percussion
later with Libra bossy for percussion
later with Libra bossy for percussion ensemble in this piece I was interested
ensemble in this piece I was interested
ensemble in this piece I was interested in two concepts both from mathematics
in two concepts both from mathematics
in two concepts both from mathematics fractals and the Fibonacci sequence now
fractals and the Fibonacci sequence now
fractals and the Fibonacci sequence now I want to start with fractals a fractal
I want to start with fractals a fractal
I want to start with fractals a fractal can be defined as a fragmented geometric
can be defined as a fragmented geometric
can be defined as a fragmented geometric shape that can be split into smaller
shape that can be split into smaller
shape that can be split into smaller parts each of which are reduced copy of
parts each of which are reduced copy of
parts each of which are reduced copy of the hole and fractals are generated
the hole and fractals are generated
the hole and fractals are generated using reiterative processes where the
using reiterative processes where the
using reiterative processes where the same set of rules are applied to the
same set of rules are applied to the
same set of rules are applied to the object again and again and the creation
object again and again and the creation
object again and again and the creation of the sierpinski triangle is a great
of the sierpinski triangle is a great
of the sierpinski triangle is a great demonstration to create this triangle we
demonstration to create this triangle we
demonstration to create this triangle we start with an equilateral triangle then
start with an equilateral triangle then
start with an equilateral triangle then we invert it and reduce its size
we invert it and reduce its size
we invert it and reduce its size creating now three new equilateral
creating now three new equilateral
creating now three new equilateral triangles and we can do the same thing
triangles and we can do the same thing
triangles and we can do the same thing to each of those triangles to leave us
to each of those triangles to leave us
to each of those triangles to leave us with nine triangles and we could
with nine triangles and we could
with nine triangles and we could reproduce repeat this process again and
reproduce repeat this process again and
reproduce repeat this process again and again on each new triangle and
again on each new triangle and
again on each new triangle and eventually we’re going to be left with
eventually we’re going to be left with
eventually we’re going to be left with smaller units that are just miniature
smaller units that are just miniature
smaller units that are just miniature replicas of the larger unit and I
replicas of the larger unit and I
replicas of the larger unit and I thought what would it be like to have a
thought what would it be like to have a
thought what would it be like to have a piece of music that was just like this
piece of music that was just like this
piece of music that was just like this triangle and had the same relationships
triangle and had the same relationships
triangle and had the same relationships the large triangle would be the overall
the large triangle would be the overall
the large triangle would be the overall composition smaller triangles would be
composition smaller triangles would be
composition smaller triangles would be smaller sections and the smallest
smaller sections and the smallest
smaller sections and the smallest triangles would be the individual notes
triangles would be the individual notes
triangles would be the individual notes the second aspect that I was interested
the second aspect that I was interested
the second aspect that I was interested in is the Fibonacci sequence and this
in is the Fibonacci sequence and this
in is the Fibonacci sequence and this sequence was first presented by Leonardo
sequence was first presented by Leonardo
sequence was first presented by Leonardo of Pisa better known as Fibonacci in his
of Pisa better known as Fibonacci in his
of Pisa better known as Fibonacci in his twelve thousand two book Libra basi or
twelve thousand two book Libra basi or
twelve thousand two book Libra basi or book of calculation and it appears on
book of calculation and it appears on
book of calculation and it appears on one small page of this rather large tome
one small page of this rather large tome
one small page of this rather large tome where Fibonacci is describing the
where Fibonacci is describing the
where Fibonacci is describing the reproduction of rabbits and Fibonacci
reproduction of rabbits and Fibonacci
reproduction of rabbits and Fibonacci set up the following rules it takes one
set up the following rules it takes one
set up the following rules it takes one month for a bunny to grow to mature a
month for a bunny to grow to mature a
month for a bunny to grow to mature a bit and each month a mature rabbit will
bit and each month a mature rabbit will
bit and each month a mature rabbit will produce one offspring so if we follow
produce one offspring so if we follow
produce one offspring so if we follow Fibonacci the first month
Fibonacci the first month
Fibonacci the first month have a bunny in the second month that
have a bunny in the second month that
have a bunny in the second month that bunny grows into a mature rabbit in the
bunny grows into a mature rabbit in the
bunny grows into a mature rabbit in the third month that rabbit praises a new
third month that rabbit praises a new
third month that rabbit praises a new offspring and now we have two rabbits in
offspring and now we have two rabbits in
offspring and now we have two rabbits in the fourth month the first rabbit
the fourth month the first rabbit
the fourth month the first rabbit creates another offspring and the bunny
creates another offspring and the bunny
creates another offspring and the bunny matures and we can continue it in month
matures and we can continue it in month
matures and we can continue it in month five they’re gonna be five rabbits in
five they’re gonna be five rabbits in
five they’re gonna be five rabbits in month six there will be eight in month
month six there will be eight in month
month six there will be eight in month seven there will be 13 and we can
seven there will be 13 and we can
seven there will be 13 and we can continue this process to infinity by the
continue this process to infinity by the
continue this process to infinity by the time we reached we 14 our rabbit
time we reached we 14 our rabbit
time we reached we 14 our rabbit population has grown to 610 there’s
population has grown to 610 there’s
population has grown to 610 there’s another way that we can make the
another way that we can make the
another way that we can make the Fibonacci sequence and that’s using a
Fibonacci sequence and that’s using a
Fibonacci sequence and that’s using a mathematical formula where we start with
mathematical formula where we start with
mathematical formula where we start with 0 and 1 and each new number is a sum of
0 and 1 and each new number is a sum of
0 and 1 and each new number is a sum of the previous two so starting with 0 and
the previous two so starting with 0 and
the previous two so starting with 0 and 1 the next number is going to be 1 which
1 the next number is going to be 1 which
1 the next number is going to be 1 which is 1 plus 0 the next one will be 2 which
is 1 plus 0 the next one will be 2 which
is 1 plus 0 the next one will be 2 which is 1 plus 1 then 3 which is 1 plus 2 5
is 1 plus 1 then 3 which is 1 plus 2 5
is 1 plus 1 then 3 which is 1 plus 2 5 which is 2 plus 3 8 3 plus 5 and
which is 2 plus 3 8 3 plus 5 and
which is 2 plus 3 8 3 plus 5 and continues well that makes the Fibonacci
continues well that makes the Fibonacci
continues well that makes the Fibonacci sequence so fascinating is that as our
sequence so fascinating is that as our
sequence so fascinating is that as our numbers increase the same ratio appears
numbers increase the same ratio appears
numbers increase the same ratio appears between adjacent numbers let’s look at
between adjacent numbers let’s look at
between adjacent numbers let’s look at the last three notice that the ratio
the last three notice that the ratio
the last three notice that the ratio between 233 and 377 is 0.618 and the
between 233 and 377 is 0.618 and the
between 233 and 377 is 0.618 and the ratio between 377 and 610 is also 0.618
ratio between 377 and 610 is also 0.618
ratio between 377 and 610 is also 0.618 now this ratio has begins given several
now this ratio has begins given several
now this ratio has begins given several names the golden ratio the golden
names the golden ratio the golden
names the golden ratio the golden section the golden mean and it’s math
section the golden mean and it’s math
section the golden mean and it’s math it’s fascinating mathematicians since
it’s fascinating mathematicians since
it’s fascinating mathematicians since Euclid it appears regularly in nature
Euclid it appears regularly in nature
Euclid it appears regularly in nature and the layout of the seeds of a
and the layout of the seeds of a
and the layout of the seeds of a sunflower and also in the ratio between
sunflower and also in the ratio between
sunflower and also in the ratio between the chambers of a nautilus shell and the
the chambers of a nautilus shell and the
the chambers of a nautilus shell and the attraction of the golden ratio is the
attraction of the golden ratio is the
attraction of the golden ratio is the belief that we as humans find it
belief that we as humans find it
belief that we as humans find it aesthetically pleasing architects have
aesthetically pleasing architects have
aesthetically pleasing architects have used it in their design most notably the
used it in their design most notably the
used it in their design most notably the caboose EA in the mid 20th century
caboose EA in the mid 20th century
caboose EA in the mid 20th century artists have used it in their paintings
artists have used it in their paintings
artists have used it in their paintings but composers have used it extensively
but composers have used it extensively
but composers have used it extensively Beyla Bartok cloud Debussy Michael
Beyla Bartok cloud Debussy Michael
Beyla Bartok cloud Debussy Michael Gandolfi William Duckworth just name a
Gandolfi William Duckworth just name a
Gandolfi William Duckworth just name a few and when an architect uses it they
few and when an architect uses it they
few and when an architect uses it they might use it to determine the size of
might use it to determine the size of
might use it to determine the size of windows in a building or the size of the
windows in a building or the size of the
windows in a building or the size of the balconies as shown here an artist may
balconies as shown here an artist may
balconies as shown here an artist may use it to place an object perfectly
use it to place an object perfectly
use it to place an object perfectly within a canvas but composers use it for
within a canvas but composers use it for
within a canvas but composers use it for time or how long a section of music will
time or how long a section of music will
time or how long a section of music will be in relation to the whole young
be in relation to the whole young
be in relation to the whole young composers are taught using Bayla
composers are taught using Bayla
composers are taught using Bayla Bartok’s
Bartok’s
Bartok’s music for Strings percussion and to last
music for Strings percussion and to last
music for Strings percussion and to last as a model that if they place the climax
as a model that if they place the climax
as a model that if they place the climax of their composition right at the golden
of their composition right at the golden
of their composition right at the golden ratio right at 61.8% of the way through
ratio right at 61.8% of the way through
ratio right at 61.8% of the way through the piece it’s guaranteed to be
the piece it’s guaranteed to be
the piece it’s guaranteed to be successful but I thought why stop there
successful but I thought why stop there
successful but I thought why stop there why not have it between all the sections
why not have it between all the sections
why not have it between all the sections of the piece between all the music
of the piece between all the music
of the piece between all the music musical phrases and between every note
musical phrases and between every note
musical phrases and between every note and I started visually with what we call
and I started visually with what we call
and I started visually with what we call Fibonacci tiling and to do this we start
Fibonacci tiling and to do this we start
Fibonacci tiling and to do this we start with the tile that is one by one it’s
with the tile that is one by one it’s
with the tile that is one by one it’s rather small here but it will get bigger
rather small here but it will get bigger
rather small here but it will get bigger then another one by one square then we
then another one by one square then we
then another one by one square then we do a two by two square a three by three
do a two by two square a three by three
do a two by two square a three by three square a five by five eight by eight
square a five by five eight by eight
square a five by five eight by eight thirty by thirteen and we can continue
thirty by thirteen and we can continue
thirty by thirteen and we can continue it now if we inscribe an arc in between
it now if we inscribe an arc in between
it now if we inscribe an arc in between each of these squares we gets what is
each of these squares we gets what is
each of these squares we gets what is known as the Fibonacci spiral which you
known as the Fibonacci spiral which you
known as the Fibonacci spiral which you can see closely resembles the shape of
can see closely resembles the shape of
can see closely resembles the shape of the nautilus shell and I thought what
the nautilus shell and I thought what
the nautilus shell and I thought what would it be like to write a piece of
would it be like to write a piece of
would it be like to write a piece of music where the experience of hearing it
music where the experience of hearing it
music where the experience of hearing it would be like traveling through the
would be like traveling through the
would be like traveling through the chambers of the nautilus shell hearing
chambers of the nautilus shell hearing
chambers of the nautilus shell hearing the same music again and again at
the same music again and again at
the same music again and again at smaller and smaller intervals but still
smaller and smaller intervals but still
smaller and smaller intervals but still maintaining that same relationship but
maintaining that same relationship but
maintaining that same relationship but music works linearly in time so we have
music works linearly in time so we have
music works linearly in time so we have to lay the squares out in a row and if
to lay the squares out in a row and if
to lay the squares out in a row and if you recall when we what we talked about
you recall when we what we talked about
you recall when we what we talked about with fractals where we created the
with fractals where we created the
with fractals where we created the sierpinski triangle using the same
sierpinski triangle using the same
sierpinski triangle using the same process again we can do this with the
process again we can do this with the
process again we can do this with the squares reducing each square to its sum
squares reducing each square to its sum
squares reducing each square to its sum so a 34 square would become a 13 and a
so a 34 square would become a 13 and a
so a 34 square would become a 13 and a 21 a 21 square become an 8 and a 13 and
21 a 21 square become an 8 and a 13 and
21 a 21 square become an 8 and a 13 and it would continue and then we continue
it would continue and then we continue
it would continue and then we continue this process again and again reducing
this process again and again reducing
this process again and again reducing each square to a smaller unit until
each square to a smaller unit until
each square to a smaller unit until we’re left with the smallest unit which
we’re left with the smallest unit which
we’re left with the smallest unit which is a single 1×1 square and the next step
is a single 1×1 square and the next step
is a single 1×1 square and the next step is to remove the scaffolding replace the
is to remove the scaffolding replace the
is to remove the scaffolding replace the squares with note heads add stems and
squares with note heads add stems and
squares with note heads add stems and beams add a musical staff and we have
beams add a musical staff and we have
beams add a musical staff and we have music now if we assign each one of these
music now if we assign each one of these
music now if we assign each one of these notes to a drum from high to low the
notes to a drum from high to low the
notes to a drum from high to low the result is going to sound like this
now when I got to this point I was both
now when I got to this point I was both excited and disappointed excited that
excited and disappointed excited that
excited and disappointed excited that I’d made this happen but disappointed in
I’d made this happen but disappointed in
I’d made this happen but disappointed in the way it sounded and I knew that I
the way it sounded and I knew that I
the way it sounded and I knew that I couldn’t make a performer do this for
couldn’t make a performer do this for
couldn’t make a performer do this for ten minutes or more and I definitely
ten minutes or more and I definitely
ten minutes or more and I definitely couldn’t make an audience member
couldn’t make an audience member
couldn’t make an audience member listened to more than ten minutes of
listened to more than ten minutes of
listened to more than ten minutes of this but if the similar approach were
this but if the similar approach were
this but if the similar approach were applied to other aspects of music what
applied to other aspects of music what
applied to other aspects of music what pictures are played
pictures are played
pictures are played what register they are how high or low
what register they are how high or low
what register they are how high or low those pictures are in orchestration what
those pictures are in orchestration what
those pictures are in orchestration what instruments are playing there’s always
instruments are playing there’s always
instruments are playing there’s always much more enjoyable and now before I
much more enjoyable and now before I
much more enjoyable and now before I play you a short segment of this piece I
play you a short segment of this piece I
play you a short segment of this piece I want to talk briefly about the form or
want to talk briefly about the form or
want to talk briefly about the form or how it’s constructed it starts by
how it’s constructed it starts by
how it’s constructed it starts by Counting sixteenth notes which are the
Counting sixteenth notes which are the
Counting sixteenth notes which are the smallest note value and it starts that X
smallest note value and it starts that X
smallest note value and it starts that X should actually be a sixteenth note but
should actually be a sixteenth note but
should actually be a sixteenth note but that’s okay and it starts at 610 and
that’s okay and it starts at 610 and
that’s okay and it starts at 610 and counts this way down to one then 277 all
counts this way down to one then 277 all
counts this way down to one then 277 all the way down to one 233 down to one
the way down to one 233 down to one
the way down to one 233 down to one until we’re left at one and then the
until we’re left at one and then the
until we’re left at one and then the process repeats again starting at 277
process repeats again starting at 277
process repeats again starting at 277 and working all the way down to one and
and working all the way down to one and
and working all the way down to one and then it for each new number after that
then it for each new number after that
then it for each new number after that until we’re left at the very end with
until we’re left at the very end with
until we’re left at the very end with just one note I what I’m going to do is
just one note I what I’m going to do is
just one note I what I’m going to do is play a short segment from 233 to where
play a short segment from 233 to where
play a short segment from 233 to where it resets at 377 this recording is by
it resets at 377 this recording is by
it resets at 377 this recording is by the Truman State University percussion
the Truman State University percussion
the Truman State University percussion ensemble directed by Michael bump the
ensemble directed by Michael bump the
ensemble directed by Michael bump the group that premiered the work and what
group that premiered the work and what
group that premiered the work and what you’re going to see as it plays is a
you’re going to see as it plays is a
you’re going to see as it plays is a video that will count down the numbers
video that will count down the numbers
video that will count down the numbers for you
it took me over a year to compose
it took me over a year to compose Liebherr bossy and it was a laborious
Liebherr bossy and it was a laborious
Liebherr bossy and it was a laborious process it also completely fulfilled any
process it also completely fulfilled any
process it also completely fulfilled any desire I had to write such formalized
desire I had to write such formalized
desire I had to write such formalized music and I will never do it again
and as a colleague of mine mentioned
and as a colleague of mine mentioned once in many ways Libra bossy is more of
once in many ways Libra bossy is more of
once in many ways Libra bossy is more of an experiment than actual music and like
an experiment than actual music and like
an experiment than actual music and like many experiments I went into it with
many experiments I went into it with
many experiments I went into it with certain expectations but left it with
certain expectations but left it with
certain expectations but left it with completely unexpected results composing
completely unexpected results composing
completely unexpected results composing is a lot like learning to play a new
is a lot like learning to play a new
is a lot like learning to play a new technique on a musical instrument
technique on a musical instrument
technique on a musical instrument the musician spends hours days weeks
the musician spends hours days weeks
the musician spends hours days weeks months carefully practicing the
months carefully practicing the
months carefully practicing the technique again and again until it
technique again and again until it
technique again and again until it becomes intuitive and similarly the
becomes intuitive and similarly the
becomes intuitive and similarly the methodical composing Libra bossy where
methodical composing Libra bossy where
methodical composing Libra bossy where the focus wasn’t on the notes but how
the focus wasn’t on the notes but how
the focus wasn’t on the notes but how and especially when they were presented
and especially when they were presented
and especially when they were presented left me with a more under into ative
left me with a more under into ative
left me with a more under into ative understanding of how time works in music
understanding of how time works in music
understanding of how time works in music and how I as a composer can use time for
and how I as a composer can use time for
and how I as a composer can use time for dramatic effects so this is drastically
dramatic effects so this is drastically
dramatic effects so this is drastically changed all of my work since then both
changed all of my work since then both
changed all of my work since then both in my own compositions but most
in my own compositions but most
in my own compositions but most importantly is my work as an educator
importantly is my work as an educator
importantly is my work as an educator training young musical composers thank
training young musical composers thank
training young musical composers thank you so much
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