neurotechnics27

Thanx for the comment, miggy. I deeply appreciate and value your input and opinion. I want to be clear that I neither had nor have any intention of trying to 'flaunt' anything. I did mention some things about my personal relationships and my past because I thought it was relevant to my response to the comments posted. I do however, (reading back through all my posts) see how some of my posts could be seen as an attempt to 'flaunt' my personal connections and for that I apologize to you and to anyone in this forum who has read and interpet my posts that way. Nothing could be further from the truth. I hope I have been able to clear up any misunderstanding. Warmest Personal Regards, Joel Glenn Wright

Question? Do you want the stanza to follow the same chorus format? That is We'll strive for the highest, Strive for the highest, [blah, blah, blah, blah, blah] We'll strive for the highest, Strive for the highest, [blah, blah, blah, blah, blah] or do you want some new type of verse rhyme scheme? Let me know and I will bang out some new lyrics. Warmest Personal Regards, Joel Glenn Wright

Hi, Dustin! thanx for the comment. Eric is actually a friend of mine, though recently we haven't kept in touch. Back when I was about 18 years old and just starting to compose, I sent him an email and ended up having a long correspondence and then many sit-down talks about composing music. His teaching and guidance and suggestions have been a profound influence on my musical style, so I suppose there are certain musical elements that he taught me that do contain some of his sound and style.

Hi, Nabby!! Thanx for posting! Actually, yes, I am aware of Frank ticheli's setting of this poem. In fact, when I was still singing with professional choral groups, we performed and I sang it several times. It was thru sing the song that I first discover this gorgeous text.

oops! sorry, here is the link. (Its clean) Streetcorner.wav audio demo

part of a little musical doodling I did today for an hour or two. (Still needs to be finished) Its a variation on the chord progression of behind blue eyes by peter townsend (the Who) This is just a partial rough draft

Sure, Miggtorr. I will convert it for you. will post link soon.

Hi, guys!! I'm just checking in to see how thing are coming along. I'm getting ready to record the conducting track with conductor Shreyas Patel (From the Portara Choral Ensemble of Nashville, TN). Just curious, how many of you guys are ready to record the parts video/audio?

Thanks, MiggTorr. :) As I said to Peter, I apologize if my comments are interpreted as aggressive or hostile. They are not meant to be such. I guess I just have a very straight forward, candid approach in the way I communicate. So, always keep that in mind. I do deeply appreciate your taking time to view this thread and comment. I am curious to know, what are your reflections on the beginning of this piece that I am working on?

Cool, Peter. Glad I could help. I do fancy myself a wordsmith. :lol: Please let me know if you need more verses.

Here, Peter. Per your request for help, I sat down and a verse and a chorus. Its kinda hard without either being in or knowing specifically about the fraternity to write decent lyrics. But, I had about 10 minutes to kill, so I figured I sketch a little something out that might work. So Here YOU GO: [Verse] Kappa Kappa Psi with our allegiance, we pledge to try with a spirit of passion, to lead our fellow men of music, with 'Excellence' our Creed. In perfection we take pride, Standing side by side, we are a band of brothers, now- O, Mu Tau!! [Chorus] We'll strive for the highest- Strive for the highest- Now and wherever we may go We'll Strive for the highest- Strive for the highest- for as long as music, we make We raise our song up to the sky O brothers, whatever fate may allow We will remain Kappa Kappa Psi- Mu Tau! :P

Peter, I appreciate your candor. It is very refreshing. And I will speak very candidly to you, as well: First of all, my friend, I apologize if any of my replies offended you or seemed to you to be aggressive and/or attacking in any way. I can assure you that there is no 'bad blood' or 'unpleasantness' felt by me towards you. I hope your feelings towards me are the same. In point of fact, I actually DO GENUINELY APPRECIATE your responses. Which, BTW, are longest, most detailed of what I've seen here in this forum. Also, I should tell you that I do honestly contemplate all suggestions given me. In fact, I must say, that I went back through the piece and looked at your suggestion of suspension and resolution to a minor and I like it a lot. Not for that particular last C chord, but somewhere else, it would be perfect. I can already hear it. So, THANK YOU FOR THAT, Peter. And, being completely candid with you, may I offer a suggestion about giving feedback to composers (in general)? For the most part, the theory, the rules, the technicalities of a piece is of secondary importance to the true composer. The Real Hardcore Composer cares first and foremost about the way in which the piece effects people inside. They care about how it effects person internal subjective experience, what moods it creates, what sensations, what memories and internal images it evokes. So, before you go in the the technical analysis of their music, tell them how it effects you, emotionally, deep inside. Does it make you happy? Does it make you sad? Does it make you hungry? Does it remind you of being on a beach? Does it remind you of nighttime in the city? Does it make you think about a girl you once knew?..............Whatever it may be, tell them that first. then, go through the technical analysis of the music (which, I give you credit, you are very good at). How this comment is receive with the same loving spirit with which it was given. All and all, Peter, I like you. I really do. And Your Music too. Keep up the work and let us both continue to post and correspond with each other. I find it really engaging. regards, J. Glenn Wright

thank you for you comments, Peter. I, again, appreciate your taking the time to read the score and listen to the audio. As far as the Prometheus Chord goes, I would have thought that someone so well versed in music theory, as all of your postings seem to imply, would know what a prometheus chord is. But, then again, you are a little younger and have much more to learn (as do we all). I will explain it to you: In music the mystic chord or Prometheus chord is a complex six-note chord, scale, or pitch collection which loosely serves as the harmonic and melodic basis for some of the later pieces by Russian composer Alexander Scriabin as Scriabin did not use the chords directly but instead material derived from its transpositions, see below. It consists of the pitch classes: C, F♯, B♭, E, A, D. This is often interpreted as a quartal hexachord consisting of an augmented fourth, diminished fourth, augmented fourth, and two perfect fourths. However the chord may be spelled in a variety of ways and is related to other pitch collections. (see example 1) Anyways, as I have said, this is just the beginning of the piece. I have a little writer block, so I thought I would upload it and get some feedback. This is a rough draft and not the finished product, that explains the double 4/4 in the beginning. Also, I most of my work I do create sense of unrelenting motion, purposefully. In fact, many of the professional choral groups that sing my works specifically like that about them. And music, at least choral music, is about structure and fulfilling functions, per se. It is about tell a story, conveying a feeling, trying to enhance the feeling or point the poet of the text was trying to convey. I know that you are new to compose and, as such, your head is still very much steep in theory. It's okay, that will pass. But still, thank you for the comments. Although they were not particularly helpful in providing anything to help with my writer's block, I will, nevertheless, reflect upon them. :cool: :cool:

Well, for starters, if you are going to write song and the lyrics, you can go about it one of two ways. Either write the lyrics first and then write the music or write the music first and then write the lyrics. Don't try to write them both at the same time. Also write about something that inspires you or at least makes you feel something very strongly. And I can tell from both your music and comments that you have make this forum that you are more of an intellectual person rather than a feeling person (not that you don't have feelings, of course). Now, there is nothing wrong with that, per se, when it comes to music. However, in writing lyrics, that will not serve you well at all. You've got to dig deep inside, analyze your own feelings, and then to put them into words as best you can. After you have done that, step back and look at whatever words you have written. At this stage, it is not important if they rhyme or not. It just has to be a complete thought. Now, pull out your thesaurus and start to ask yourself "How else could I say this?" "What's a more elegant way to put this?". BTW, elegance in lyrics (and in music, I think) is the same as elegance in mathematics; The simplest solution in the most elegant. As you are re-drafting, try to focus on rhyming to this point and, also the rhythm of the consonances and vowels as text is spoken. It also may be useful to start thinking in metaphors too. And try to use sensory terms and predicates for as many different senses as you can (visual, auditory, kinesthetic, and so on). These are a few of the basics. Other than that, you are welcome to show me what you've come up with and I might be able to see a few other things that you could do. That is some of what is involved with writing lyrics.

Okay, Guys!! Here is the revised Score!!!There Will Be Rest Revised Score.pdf