I want to let you all know that I’ve got a playlist now on SoundCloud that will automatically pull up the interactive score to the musical I’ve been working on. Feedback is welcome — I’m not exactly sure how viable the instrumentation is. If I want to easily translate it to a live pit orchestra with “real” musicians, this arrangement probably is not optimum. It does have an interesting, ethereal sound to it, however.
The thing I keep struggling with is the awareness that when I “received” this music, I was walking about the various outdoor venues of the Berkeley, California area, fully believing that the correct orchestrations were as absolute as the music itself, and that all these sounds were coming from Beyond, having originated in a realm of musical consciousness far greater than the confines of my relatively minute human intellect.
The more powerful that memory, the greater the sense in which I feel this music is cheapened by the arbitrary addition of synthetic sounds only remotely related to the real live musicianship that seems to be called for. On the other hand, when the music was originally being “given” to me, I “heard” it involving sounds that I identified as being of a timbre tantamount to that of a tenor saxophone and a viola soloist. So my choice to employ tenor sax and viola in my arrangements was not arbitrary. It’s an attempt to best replicate that which I have already heard.
The problem with this is that, while it may indeed provide adequate background for singers presenting an interactive production online, it would be difficult to rectify those sounds as being suitable within the typical pit orchestra of a Broadway-type musical. I could replace them with an increased focus on electric guitars and keyboard-synth, and thus render the interactive orchestration compatible with that of a real-live pit orchestra — one with a rock ensemble flair — but if I do so, I sacrifice the beauty of the expressive tenor sax and viola sounds, as authentically replicating the ethereal sounds that I heard.
One thing to note is that instruments like saxophones and violas are generally found as parts of larger jazz or classical ensembles. While we do hear sax solos in jazz and other genres, we don’t often hear viola solos. More often, the viola is a part of a string section. So I might as well add a wind section, a string section, and a brass section for that matter, if I’m going to involve such instruments. They sound out of character when played together without some bolstering or support from instruments of their kind.
However, all of this has to do with idiom.
That is, because the ear is not accustomed to hearing passages that involve a sax and a viola harmonizing in descending cascades such as we hear in Sirens of Hope
, it rejects the application of those instruments as bizarre. They don’t match the typical pairing of instruments — a single brassy wind like that, with a solitary stringed instrument in the midrange. And yet, were we to have such instrumentalists in a pit with ample miking and the like, we could lift their sounds to levels akin the other players – the drummer, the bass, the guitarist and the like.
A final thing to consider is that when the music was being directed my way, it was not with the idea that human musicians were playing it in whatever Ethereral Realm of the Beyond it was emanating from. Seriously! The distinct impression I got was that it was being performed in such a way that transcended mere human musicianship. And if this is the case, then certainly the employment of the software is excusable. To the ears of the ethereal, human instruments, human devices, and human programs are all one and the same. They are all equally non-divine.
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