Tag Archives: contemporary

#6×5 – Part one of a four-movement minimalist work

Following on from the re-publication of last week’s trailer for #6×5 (which you can read about by clicking here), I thought it was time I told you a little more about the wider work (as yet untitled).

#6×5 was an idea I had for a movement of a minimalist work. It’s title comes from the six separate motifs, each five notes in length. The interplay, juxtaposition, and indeed, dissonance derived from how these motifs are arranged becomes the complex – yet ultimately simple – basis for this frantic piece.

Since it was the first idea of the four smaller pieces which came to me, I still consider this to be the first movement. Originally arranged for tuned percussion, the trailer demonstrates ensemble or solo or duo piano. The opening statement (which starts the trailer) forms a strong setup for the piece. Clearly showcasing each of the six motifs, we then descend into a something much more complicated. From here, the listener should know roughly what to expect from the remaining four movements.

The next movement to be almost entirely completed is #5×4. Again arranged for solo or duo piano, this is the slow movement of the work. Using the same principle as #6×5, this slower, more reflective movement features five individual lines which use four unique notes each*.

[*On average, for which a lengthy explanation may be required. To read this, please see my post of #5×4, coming soon]


The remaining two movements currently remain very much in the drafting process. I have yet to settle on the final motifs which will form the basis of these pieces, though the most recent versions have shown a lot of promise…

What I can tell you is that one of the movements will feature a triple time beat. These will utilise triplet-quaver phrases for their motifs, though how many variation will end up in the final draft is yet to be seen. It could be called ‘3×3′ or ’14×3’ depending on how strict I am with myself in the distilling and editing process!

You have spotted a pattern by now, which means you’ll be able to guess the number of notes in the final movement…

That’s right: two.

Again, as with the triplet-time movement, I have yet to ‘kill my darlings’ and finalise which motifs will form the base components for the the piece. My greatest challenge in both of these movements is the overwhelming similarity to the work of Philip Glass. I have long been a fan of Glass, and his reputation as one of the foremost minimalist composers leaves me with the unenviable task of following in his footsteps, hopefully without appearing as a poor imitation.

My next post will be a publication of a full-length demo for #5×4. In the meantime, you can watch & listen to the trailer for #6×5 by clicking here. Enjoy!

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Alternate guitar tunings and bringing my old acoustic out of retirement

A fairly decent chunk of this evening has been spent cleaning & re-stringing this old girl.

 

My Taylor 314CE. This guitar was my main acoustic for ten years until I retired her almost exactly a year ago. A decade of gigging was starting to show, so this has been my writing and recording acoustic, until now…

 
I’m booked to play a full set of Northumbrian #FolkMusic on solo guitar at the end of this month. A lot of my arrangements of these old tunes are better suited to an alternate tuning. So for ease, this gig requires a second guitar pre-tuned to the DADGAD tuning, and I can’t think of a better choice than the one in these pictures.  

  

 Since setting the guitar up in this way, I’ve found myself writing more draft solo guitar ideas. It looks like the shift to DADGAD might be a more permanent thing, especially if the creative juices continue to flow…

 
Until next time, keep on pluckin’,

 
Tim x