jejrekmek

thank you! I had already decided where the improv would begin and end, the differences are how i depart from the beginning and arrive to the ending There were a few things i did in take 1 that i liked so i repeated in take 2, but all the differences between the two were improvisations since I'm not an extremely skilled improvisor there is still a buffer between idea and execution, things that i would probably do differently if it were a composition (the 'wrong' notes) ; so it was mostly just about translating ideas and emotion in real time no matter how how 'good' it sounded The thing i played at 0:32 of take 2 was basically the melody of wet hands from minecraft.. but with major seventh dissonances a couple octaves up, an effect i got from messiaen's la colombe

nightmare/daymare zotwsdebtsetversion.mp3 a mortality play: 0:00 - ≈13:00 whenever a child slips: ≈13:00 - 27:04 white stones roar down the canyon / the ridiculous wishes: 27:04: - 33:59

piano improvisation .mp3 improv take 2.mp3

bitterbitterapples.mp3 when we set out to make it right we had different things in mind when we set out to make it right we had different things in mind when we set out to make the world I didn’t think there’d be boys and girls when we made time you didn’t say you’d have it make all things waste away when we made the trees I didn’t know what you’d hang from their boughs bitter apples bitter apples when we started to make mankind I didn’t think that they’d all be blind and when there’s no food left to eat we can chew on the poison seeds of bitter apples bitter apples bitter apples bitter apples

you are as tall as a plane tree I fall asleep sitting up and you catch me I could bury you up to your nose in pear soda cause Origen’s praying for us you are as tall as a plane tree when we’re Lake Superiors away you loom over me that shadow you cast over the shrovetide mass makes leo quake and strip his dandy vestments sometimes as small as a birdseed when i'm a pigeon and you feed me star anise but I’ve seen you freeze before in the falconry store so it must be the phantoms I keep I am as poor as a penny I walk up to your room and you take me I know marx didn’t die for me to cream and cry but you know just when I am needing when you're raptured up to armenia and I’m burning down make sure Origen’s praying for me in one tiny bed we could fall asleep but you get red when you can’t see into me but we ate Sherpa pie where the daisies did die so it must be the phantoms I keep we stewed Presidents’ eyes where we told our first lies so we drank from the fairies you’d steeped and we burned Baptists’ blood when we played in the mud so it must be the phantoms I keep cause you’re as tall as a plane tree when you eat chickpea thali in a glorified body see that Oregon’s waiting for me cause you’re as tall as a plane tree make sure Origen’s praying for me cause it must be the phantoms I keep make sure Origen’s praying for me cause you’re as tall as a plane tree make sure Origen’s praying for me cause you’re as tall as a plane tree newnewnewplanetree.mp3

Avey Tare & Panda Bear - Alvin Row ignore the first 2 minutes of this song

Agapē Agape.mp3 christmaker (mp3).mp3

only listen to this if you'll listen to it all the way through

if anyone actually knows about mixing and has any advice let me know

skip to 3:30 if you get bored of the vibraphone intro lol

there’s more where this came from

all I know about axis theory is that it has to do with transposing chords across minor thirds, which is something I do. tbh I mostly wrote the harmony on intuition. I can give some random thoughts the opening chords are built on two sets of minor sixths, the left hand moving up a minor third and the right hand moving down a semitone. I view m. 10 and m. 45-48 as extended V-I's (Db to Gb). the extensions leave us only a glimpse of the dominant-tonic relationship, which gives the sense of a lost innocence or something of that nature as for the the messiaen-like section at m. 22, it's grounded in pedal points cycling in major thirds (E, C, Ab). The section concludes with the Ab pedal tone, which acts as a iv chord to Eb minor. (and in modulating to Eb minor, the right hand plays B-D#-A#, and then plays D-F#-C#, so there's more of those minor-third shenanigans). The "bell" chords in the high registers of the piano have a few recurring elements. oftentimes there is a chord in the left hand which is played simultanenously an octave or two up, only moved down a semitone, creating a major-seventh dissonance in every single note. (example: m. 22, Eb minor over E minor). I often use Minor-major seven chords, augmented major seven chords, minor major sevens with a raised fifth, and minor major sevenths with a flat fifth. so in m.33-34, I constructed the chords as a G# minor-maj7 sharp 5 with an Eb melody on top; G minor-major7 sharp 5 with a Db melody on top; and B minor-maj7 sharp 5 with an F# beneath, respectively. you may also notice a couple occurrences of chords with a two major thirds separated by a major-seventh interval. (example: m. 54, C E B D#). another note on m. 53-54. I constructed this as another one of those "uncanny-valley" V-I's, being G to C. The G chord is: G, F, Bb, Eb, Ab, and the C is the aforementioned: C, E, B, D#. However these two chords are interrupted by another chord: Bb, Gb, D, F. so calling it a V-I is an even bigger stretch. however that intercepting chord was constructed as being a Gb augmented major-seventh chord, which is a tritone away from C, so I guess there's more of that axis-theory stuff. the ending sets up a V-I to Eb minor: Bb, D, Ab, C#. and then B, D, Ab, Bb, which I saw as a Bb dominant chord with a b natural in the base. Then the base jumps down F, and the D, Ab, and Bb are repurposed as the natural sixth, minor third, and fourth of an F minor chord, which "resolves" to the final extended C minor chord. there's also a few sus shapes in this piece. I'm particularly a fan of this, i guess it's a major-add4 chord in second inversion. for example, in m. 38 on the third beat, the right hand plays a sus 2 shape: Eb, F, Bb, while a D plays in the base, creating this particular chord. I also realized there's a type in m. 31 on the second beat, the left hand says E and G when it should be C and E.

@Ivan1791's habit of writing "dark preludes" kind of inspired me. also toru takemitsu

can we make this giant 6 6a youngcomposers in-joke 6