This is sort of a treatment of the Charles Ives composition – https://en.wikipedia.org/wiki/Hallowe%27en_(Ives) – but I don’t know. The connection is pretty tenuous.
This is what I think happened:
1) I took a recording of the piano quintet and fed it into MIDI Guitar, creating a MIDI track that would supposedly be a transcription for one guitar of the entire piece. Of course it was nothing of the kind, and it was pretty harsh.
2) I then took this MIDI and fed it to BIAB, requesting that it provide a band to accompany this harsh guitarist. I used style _BLUGRSF.STY but kept only RealTracks ~427:Bass, Acoustic, Bluegrass Ev 130 and ~428:Fiddle, Rhythm Bluegrass Ev 130.
3) I then combined the BIAB tracks with the MIDI “guitar” tracks, and did perform upon these tracks assorted acts of unprincipled editing, ultimately rendering a piece of some sort for organ, violin, recorder, and orchestral percussion, concluding with a dramatic snippet from the recording by Leonard Bernstein, which is the only part that sounds anything like the original.
Short and sweet, just 2 minutes. Parts of this are really snappy, and I am pleased. I think the fast organ passages came out really good. This is a deranged little TOE TAPPER!
We have no idea how you did that (above our production pay grades) but the result is most cool.
Thanks for listening!
It's not as complicated as you might think. Production is essentially "do something to generate a bunch of MIDI data, then play with that MIDI data manually in Logic and use BIAB to generate an accompaniment."
As you might imagine, feeding a dissonant modern piano quintet into an audio-to-MIDI function is going to generate a lot of data, most of it poop. I just walk into the middle and start shovelling my way out. =8^)
You've definitely managed a cool arrangement of sounds on this one. What was your Halloween inspiration for this particular piece (outside of Charles Ives)? I was curious if something in particular sparked this adventure of it was more just wanting to create something for the season? Either way, neat stuff. Thanks for sharing!
You've definitely managed a cool arrangement of sounds on this one. What was your Halloween inspiration for this particular piece (outside of Charles Ives)? I was curious if something in particular sparked this adventure of it was more just wanting to create something for the season? Either way, neat stuff. Thanks for sharing!
I've done a number of other BIABified Ives pieces recently, including "Central Park in the Dark", which goes with "Halloween" here and "The Pond" to make "Three Outdoor Scenes" (see album cover above.) I can't locate a MIDI for "The Pond" but I'll hand-enter the notes if I have to to finish the trilogy.
This track is much more consumable than the previous songs :-) It's very interesting how you work with your instruments. Can't say I got it all.
It also feels as if you work with reversed sounds. Is that the case? I have some programs to do this (in Native instruments). I tried them sometimes, but it never came (close) to a song.
I am very curious how you will develop in your style. Continue the good work!
This track is much more consumable than the previous songs :-) It's very interesting how you work with your instruments. Can't say I got it all. It also feels as if you work with reversed sounds. Is that the case? I have some programs to do this (in Native instruments). I tried them sometimes, but it never came (close) to a song. I am very curious how you will develop in your style. Continue the good work!
Thank you, Hans! I am so immersed in these things, when I make them, they all start to sound normal after a while, and I love them all like little children, equally in their differences. =8^)
I think this one is particularly catchy because of the virtuosic organ part combined with a lot of stereophonic gimmickry, like hocketing a melody back and forth between instruments. And fast-tempo 1/16 note quantization – without that, tying everything together into a tight rhythm, it just sounds like mud. With it, it almost doesn't matter what the notes are.
Nothing is reversed. I just listened with that question in mind, and I think what you were hearing was a melody bouncing back and forth in the way described.
You appear to possess a quality of musical inventiveness mixed with a sense of humor that manifests itself in a singularly original manner in your compositions. There is nobody like you on this User's Forum.
Listening to 'Halloween: Allegro Vivace (Charles Ives?)' made me feel as though I was witnessing a laboratory experiment in which musical notation substituted for chemical ingredients. The result was joyously unpredictable and entertaining, too!
By the way, I am a committed devotee of Charles Ive's music. I think that his musical triptych, 'Three Places in New England', and especially the third part, 'The Houstonic at Stockbridge', is one of the most sublimely spiritual works of musical art I've ever experienced.
"Music is what feelings sound like."-- borrowed from a Cakewalk Music Creator forum member, "Mamabear".
You appear to possess a quality of musical inventiveness mixed with a sense of humor that manifests itself in a singularly original manner in your compositions. There is nobody like you on this User's Forum.
Listening to 'Halloween: Allegro Vivace (Charles Ives?)' made me feel as though I was witnessing a laboratory experiment in which musical notation substituted for chemical ingredients. The result was joyously unpredictable and entertaining, too!
By the way, I am a committed devotee of Charles Ive's music. I think that his musical triptych, 'Three Places in New England', and especially the third part, 'The Houstonic at Stockbridge', is one of the most sublimely spiritual works of musical art I've ever experienced.
Wow. I almost feel like I shouldn't quote you, out of modesty. =8^) Thank you, thank you. I am so glad I can do this kind of music and not be the only one who enjoys it – as poor Chuck himself must have felt a lot of the time.
Listening to "Housatonic" now. I'd never heard it before, and yes, it is gorgeous, like so many of his songs. Sometimes I think Ives found the perfect combination of heart and head in music. The "modern classical" genre would certainly be a much more soulless affair without him.
By the way, I am a committed devotee of Charles Ive's music. I think that his musical triptych, 'Three Places in New England', and especially the third part, 'The Houstonic at Stockbridge', is one of the most sublimely spiritual works of musical art I've ever experienced.
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