Bryan-Kirk Reinhardt

Into the drudges of processing and calculations…dealing with designs and with rhythmic process.  Outcome so far has been promising.

• 3 different cycles w 2 master designs in each = 6 primary designs
• One of the designs in each cycle is built on the same tetra-chord.
• The other 3 designs are build off a unique tetrachord for each cycle.
• The pairs in each cycle can modulate via common vertical elements.
• One of the designs is semi-octatonic and contains a myriad of secondary tetra-chord relationships making it very unique generator.
• Each design also can have 4 different permutation of orderings, allowing for greater material contrasts, as well as swaps.

This outlines tremendous potential for contrast and extended form, allowing a clear network of modulation between cycles and materials.

Also, I’ve been exploring some generative rhythms, and ended up writing a computer function to help me find some interesting patterns for usage.

Took the first design and did some experimentation on some of the materials and ordering I found.  Its been extremely interesting and new.  It proved out what we can do, and gave confidence that the designs will work to produce the materials I find interesting.

This week, plan on finishing the write out of the design patterns a bit more, then start thinking in a more focused way on how to arrange these sections.  It might not be the best of time spent because the form may just need to be discovered while writing the work, or at least each section, then putting it together in a massive join exercise.  We will see how that goes.  if I had some time, I might just compose out some proof of concepts for some of these secondary design – just to see how they sound out.  I still might.  Its still a bit fuzzy on how the whole reflects.

Instrumentation is still a problem – pursuing now: 2 percussion, 1 harp, 2 pianos, solo violin (or maybe string quartet), and strings.  No woodwinds or brass.  Electronics undecided, but could replace strings and add some extended sound masses.

In any case…feel good about the work these last few weeks, and where it will eventually end up.

No creative passage this week into productivity, as I’ve been distracted by other life pressures that left very limited time at the music.  And though I didn’t create that much, philosophically I’ve come to the conclusion from what I did get into the sequencer and my notes that I should abandon the violin and piano work for the time being – placing it back in the ice box for another time. (more…)

Heavy concentration this week on the pre-composition for my next work.  The smallest details, but the angst of time.  Make a small decision then think about it for 2 hours, or just stare at the screen contemplating in a trance not deciding.  Worse, I pace back and forth, and then erase what I just wrote down.  Either way, they say the eraser is the most used tool of the composer.  The majority of decisions are subjective, trying to imagine the bare potential before committing. (more…)

photo credit: leodelrosa…

A strong but tedious week spent notating dynamic changes in the score, and also writing performance notes.  Also, stuck  and bogged in other small indecisions.  How long it takes to notate just intonation markings (JIT).  You can ponder all morning on only a few.  Likewise, crescendos and decrescendos.  Ultimately, some decisions came to bed and I think I can put most of the angst to rest. (more…)

photo credit: Craig Myran Photography

2012 holds a promise to be a very productive year for writing as I move out of shadow of privacy and begin to apply the results of experimentation and research over the last 10 years.  The passage without a solid public offering (or at least a worthy one in my eyes) seems a long dry time, but hiatuses like this are not unusual.  A commonality exist  in a need to branch off the main road of art and find alternative paths of expression.  At some point in our lives, many artisans choose to abandon the comfort of old techniques, disconnect to say little in the way of output, and move to redefine their language and new thoughts of expression privately.  This follows then a map of internal questioning.  If there is any comfort its in the fact we all choose to do it.  However, each road must be followed alone, and in a private unique way.  And it can sometimes be painfully slow tedium. (more…)