Electrorchestral is obviously a mixed use of electronic music & orchestral composition. My basis on this 6th project was to work around a field recording done outside recently. Adding layers and treatment to make the background bed like moving in slow motion. I used piano on the first 2 tracks. On the first one, it is only improvisation. On the second, it does set up a melody that will be repeated all through the tune with slight changes. No piano on the third.
The orchestral parts were improvised while playing the final bed. The improvisation (with alti first, then celli, violin, basses, horns and sparse bassoon, trombone or trumpet) had to follow the unfamiliar movements of the electronic bed beneath. I must say i decided to stay as instinctive as possible. There's nearly no correction to the orchestral improvisation. It's something like automatic writing in a way. the thing is, when i had the electronic texture and the alti on it, i thought 'this goes right to the bin'. Absolutely no magic happened at that moment. It's when the celli came in that some shape was unveiled.
I recorded the celli with the alti midi part on the screen. So I knew when something was going to happen with the movement. Still the notes were improvised though naturally played on the same key as the alti. The second melodic line (celli here) might be the point when the music gets cerebral again maybe.
When the violins and basses were added, something did start to come out of the whole thing. I came back to the electronic part for a while, even sending parts of the string parts into effects. The come back to the "unnatural" sound was the point when the fusion operated. I then treated the sound of the orchestra to fit in the global mix (in this case, driving strings to higher frequencies, combined with very low reverberation.
The orchestral parts were improvised while playing the final bed. The improvisation (with alti first, then celli, violin, basses, horns and sparse bassoon, trombone or trumpet) had to follow the unfamiliar movements of the electronic bed beneath. I must say i decided to stay as instinctive as possible. There's nearly no correction to the orchestral improvisation. It's something like automatic writing in a way. the thing is, when i had the electronic texture and the alti on it, i thought 'this goes right to the bin'. Absolutely no magic happened at that moment. It's when the celli came in that some shape was unveiled.
I recorded the celli with the alti midi part on the screen. So I knew when something was going to happen with the movement. Still the notes were improvised though naturally played on the same key as the alti. The second melodic line (celli here) might be the point when the music gets cerebral again maybe.
When the violins and basses were added, something did start to come out of the whole thing. I came back to the electronic part for a while, even sending parts of the string parts into effects. The come back to the "unnatural" sound was the point when the fusion operated. I then treated the sound of the orchestra to fit in the global mix (in this case, driving strings to higher frequencies, combined with very low reverberation.
track #01. Pater
track #02. Filius
track #03. Spiritus
The religious terms given to this piece have nothing to do with the musical idea of electrorchestrality (?). It just came naturally that there was in the orchestral work some kind of link to something mystical or divine. I didn't stop that from coming out, all the more on track #03 with its latin choir phrases (improvised too).
So, Electrorchestral is a term that just fits that combination of classical and electronic in order to make the 2 sources of familiar emotions collide and speak to the mind. There should result in some kind oh hypnotizing effect. Ancient to Ambient, or through.
J'ai travaillé de nombreuses années pour la musique contemporaine, alors c'est intéressant, mais je ne vois pas ce qu'il y de nouveau ou de révolutionnant.
RépondreSupprimer