as a first entry, coming up with anything sensible to say seems beyond me. i will try to keep this all updated as best i can during the time that this group is on a break from playing live-shows; this is here for anyone to find. to recap, we don't have a real name, we have played twenty shows. there are ten of us, we play all our own songs - some of which have been the same since the day we wrote them, some of them still changing.
our most recent project has been to start work on a four-part piece called turned. the third part has been ready for a long time and we must have played it to an audience nearly a dozen times by now. the whole idea is to use classical-music influences to an extreme where they become the main point of focus, leaving the rock elements in the background. the following is a sort of open plan for the four turned pieces - and a catalogue of the parts we have composed by name. don't expect any of it to make sense please..
turned 1/4 - force field. the three parts we have ready for this piece are quite similar to one another. the beginning will be very minimalistic and seemingly arryhthmical, violin notes on floor-tom accents, slowly bringing out melody from within the interleaved hum. part two of this will make it's entrance forcefully, a storm of squalling feedback and both violins playing the full leading melody - backed up by trumpet and a possible accordion. as quickly as this part appears, it quickly subsides, giving way to the leading melody played with guitars, metallophones, piano and strings. all of it ending in a lush minor 7 chord.
turned 2/4 - death suit. this is slowly beginning to take shape; we've managed to complete four parts for the piece (and more are on the way) - the first is called 'donnie darko' as it reminded someone of the score for that film, second comes 'tangerine dream' - off-kilter arpeggios on violins, modulating every two bars; 'tangerine dream' and 'donnie darko' may both end up using the same guitar riff in the background, one that makes me think of godspeed you! black emperor everytime i hear it. third comes 'best of bach', another strings & trumpet arrangement, the most honest pop melody in all the four parts and is naturally followed by the fourth section called 'end of the world'. there will be more to say about this one once we get it near finished. a fifth part has been kicking around that sounds like dub. but we might just end up leaving that out - however much fun it is to play.
turned 3/4 - left your marks in the sand. the long-finished third part starts with a jazzy 4/4 rhythm with trumpet and saxophone playing over a simple four-note bassline. this gives way to a short vocal and trumpet centered rubato, and continues in 3/4 rhythm for the rest of the song. violins and 'cello make an appearance during the second chorus and round the whole song off in a slow-building but powerful final crescendo.
turned 4/4 - moss-school. the closing fourth chapter will be a very simple ballad using an acoustic guitar and a piano as the leading instruments. the piano melody will be revisited here in full for the first time, after appearing in tiny fragments played on the violin during the first third of force field and as the backbone to the final bridge in left your marks in the sand. here it comes through in the chorus in all it's glory, backed up by violins, 'cello, trumpet and orchestral percussion. the very end of the song will involve all instruments dropping down into parallel 1/4 notes, creating a very unsettling dischord.
our most recent project has been to start work on a four-part piece called turned. the third part has been ready for a long time and we must have played it to an audience nearly a dozen times by now. the whole idea is to use classical-music influences to an extreme where they become the main point of focus, leaving the rock elements in the background. the following is a sort of open plan for the four turned pieces - and a catalogue of the parts we have composed by name. don't expect any of it to make sense please..
turned 1/4 - force field. the three parts we have ready for this piece are quite similar to one another. the beginning will be very minimalistic and seemingly arryhthmical, violin notes on floor-tom accents, slowly bringing out melody from within the interleaved hum. part two of this will make it's entrance forcefully, a storm of squalling feedback and both violins playing the full leading melody - backed up by trumpet and a possible accordion. as quickly as this part appears, it quickly subsides, giving way to the leading melody played with guitars, metallophones, piano and strings. all of it ending in a lush minor 7 chord.
turned 2/4 - death suit. this is slowly beginning to take shape; we've managed to complete four parts for the piece (and more are on the way) - the first is called 'donnie darko' as it reminded someone of the score for that film, second comes 'tangerine dream' - off-kilter arpeggios on violins, modulating every two bars; 'tangerine dream' and 'donnie darko' may both end up using the same guitar riff in the background, one that makes me think of godspeed you! black emperor everytime i hear it. third comes 'best of bach', another strings & trumpet arrangement, the most honest pop melody in all the four parts and is naturally followed by the fourth section called 'end of the world'. there will be more to say about this one once we get it near finished. a fifth part has been kicking around that sounds like dub. but we might just end up leaving that out - however much fun it is to play.
turned 3/4 - left your marks in the sand. the long-finished third part starts with a jazzy 4/4 rhythm with trumpet and saxophone playing over a simple four-note bassline. this gives way to a short vocal and trumpet centered rubato, and continues in 3/4 rhythm for the rest of the song. violins and 'cello make an appearance during the second chorus and round the whole song off in a slow-building but powerful final crescendo.
turned 4/4 - moss-school. the closing fourth chapter will be a very simple ballad using an acoustic guitar and a piano as the leading instruments. the piano melody will be revisited here in full for the first time, after appearing in tiny fragments played on the violin during the first third of force field and as the backbone to the final bridge in left your marks in the sand. here it comes through in the chorus in all it's glory, backed up by violins, 'cello, trumpet and orchestral percussion. the very end of the song will involve all instruments dropping down into parallel 1/4 notes, creating a very unsettling dischord.
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