Mirror Seven

I don't relate to the genre, but strangely I manage to follow along... for me it is a very positive aspect.

I really like how you used the piano, in the sense that it is not intrusive and does not force the protagonist. A sort of equality between him and the other instruments... I would also like to understand how you approached it at a compositional level

Congratulations Frank! "Enigmatic" title...

Frank, I had heard your variations last year... I find several recurring elements and it is a very positive thing stylistically; it is very fluid and it seems to me that you have speculated extremely on the material. Furthermore, it seems like a tripartite structure... but of almost 7'... there is tradition and novelty. The pieces I like... don't let us miss out on an execution with real instruments, I must say that in this syntax the precise and measured rhythm isn't even too penalizing... since at least there is a bit of agogics

Of course, in some points, where there are vibratos... one really feels the need for real instruments and I think that live it would have a different impact

Until next time..

I am very satisfied when listening to it.

I agree with Talentuoso and Oracolo (when speaking about the way to treat the pf).

Thank you for sharing your piece

I would also add that it seems well-balanced in terms of instrumentation to me... I don't much care for tracks made only of effects; it seems to me there is a right dosage of them. For the strings, various little things can be heard... however, it would be better to have the score, is it possible to get it?

I enjoyed it very much, compliments.

I like it very much, beautiful and gritty but not chaotic, I could almost say that it preserves its own singability

Dodecaphonic? Free atonality?

The basic material seems sparse and highly elaborated, with a coherence that makes the whole piece flow, compliments!!

I agree with Ale, in one word refined.

For me it's a bit difficult Frank (it has to do with what I "need" during this period), it is also understandable that these samplings cannot perform

as one would like.

The central part is very dense and at least for me, requires a bit of time to be assimilated, I have to listen to it again on headphones.

Does the title have a particular meaning?

Do you translate it literally or do you have another "intent" in using it?

Seventh reflection? Do you mean it as reflection or mirror "mirror"?

Piccinesco wrote:

The central part is very dense and at least for me, requires a bit of time to be assimilated; I need to listen to it again on headphones.

Effectively, that is where I also struggled the most... but it's nothing new, I am too used to more "melodic" languages

AleGozzo wrote:

Dodecafonico?

I strongly doubt...

I thank everyone for the attention and comments.

@Oracolo/AleGozzo/Talentuoso

The piece is constructed according to a palindromic structure that is based on the processing of a defective chromatic total according to mathematical criteria (with various affinities to the number 7) and by exploiting some principles of mirrorability of the material.

The title does not have a true literal translation but can have many connotations...

It is based on my own system of scales... as Oracolo said, it has little to do with Dodecaphony

@Marcello/Piccinesco

Regarding the listening difficulties of the central part, I find it interesting that it occurs (in my opinion) when the processing mode shifts from speculation to deformation.

In this regard, I ask Piccinesco, who was very precise on the matter, to try listening at the same link to "Canovaccio incompiuto 360" with particular attention around the eighth minute.

Anyway, in spring I will post the version performed by real instruments; surely that part should result in being clearer…

Frank, I listened to Mirror seven again and for the first time Canovaccio incompiuto: the first one continues to make the same impression on me, even though I understand that higher quality sounds may contribute to a better sonic result (and better than any library will be the performance with real instruments), but except for some fragments, I cannot perceive it like the others; things change with the second one, which I absorbed "better", in the sense that even upon the first listen I found some interesting points, which certainly provoked a different impression in me, in particular one of the points I appreciated most is (is it defined this way? the question is serious) the ostinato from minute 5:04" to 5:54", but not only that, it seemed more understandable to me than Mirror seven, perhaps the wider (even if the sound is not excellent, I know) piano dynamics contributed to me having this perception. I will listen to them again.

Frank, I listened to Mirror seven again and for the first time Canovaccio incompiuto: the first one continues to make the same impression on me, even though I understand that higher quality sounds may contribute to a better sonic result (and better than any library will be the performance with real instruments), but except for some fragments, I cannot perceive it like the others; things change with the second one, which I absorbed "better", in the sense that even upon the first listen I found some interesting points, which certainly provoked a different impression in me, in particular one of the points I appreciated most is (is it defined this way? the question is serious) the ostinato from minute 5:04" to 5:54", but not only that, it seemed more understandable to me than Mirror seven, perhaps the wider (even if the sound is not excellent, I know) piano dynamics contributed to me having this perception. I will listen to them again.

Piccinesco wrote:

Frank has listened to Mirror seven again and, for the first time, Canovaccio incompiuto: the first one continues to make the same impression on me, even though I understand that higher quality sounds may contribute to a better sonic result (and better than any library will be the performance with real instruments), but except for some fragments, I cannot perceive it like the others; things change with the second one, which I absorbed "better", in the sense that even from the first listen I found some interesting points, which certainly provoked a different impression in me, in particular one of the points I appreciated most is (is it defined this way? the question is serious) the ostinato from minute 5:04" to 5:54", but not only that, it seemed more understandable to me than Mirror seven, perhaps the wider dynamics of the piano (even if the sound is not excellent, I know) contributed to me having this perception. I will listen to them again.

Essentially, the part of Canovaccio incompiuto that I was pointing out to you is constructed, with due differences, using the same principle of deformation as Mirror Seven; it's just that in Canovaccio there is a unique timbre (that pf, even if disgusting, is superior as playback to Mirror Seven). Another difference is the number of voices, which is higher in Canovaccio, which absurdly should give less clarity in a context like the one I proposed to you.

In reality, I had already taken Mirror Seven offline for 2 or 3 days, waiting to replace the playback with the version played by real instruments (I will let you know)... I am really curious to see on a perceptual level if anything will change for you hearing the instruments for which it was truly intended. Also because I myself, in the playback, do not hear the vast majority of the articulations that I inserted in the score.

Thanks for the feedback Piccinesco.

Piccinesco wrote:

One of the points I appreciated most is (is it defined this way? the question is serious.) the ostinato from minute 5:04" to 5:54", but not only that, it seemed more understandable to me than Mirror Seven; perhaps the wider (even if the sound isn't excellent, I know) dynamics of the piano contributed to me having this perception.

I think you are right.

It must be said that Canovaccio starts from substantially dated material (a couple of dodecaphonic series) to progressively, through variation, arrive at the fateful minute. Therefore, the listener is taken a little by the hand.

In the case of Mirror Seven, the issue is different; it starts precisely from scalar material of my own invention... upon which I elaborate the development; the central part arrives as a climax and not as the conclusion of a journey. I understand this might "offend," but we are counting our chickens before they hatch... namely, the quartet that will play it.

An opinion on their performance wouldn't hurt either; I really want to see how they come out of it... let's just say the score is very detailed.

Unfinished sketch 360 sorry for the error.