00:00

FALLING ALICE (SCENES:1. After dinner with parents. 2. upthe stairs and Into the Dark with Schrodinger's Cat.3.'tis but a dream 4.The Queen's Court


Uploaded on Jun 26, 2016

An opera or a ballet based on Alice's Adventures in Wonderland . There will be a Good Night Aria (where she announced her loyal love to her parents and hopes for the coming day as well as voicing her fears of the nighttime but says she will be safe with her cat Schrodinger ) before the scary walk up the long and winding staircase up to Alice's bedroom !

Alice 's walk to her bedroom Falling Alice Alice's Good Night Falling Allice

Pages 41
Duration 07:32
Measures 178
Key signature natural
Parts 44
Part names Piccolo, Flute(2), Oboe, Clarinet, Bassoon(2), Alto Saxophone, French Horn, Trumpet, Timpani, Percussion(7), Piano, Violin, Strings(5), Cello, Contrabass
Privacy Everyone can see this score
License None (All rights reserved)
Show more Show less

This score appears in:


Your comment


Comments

Hey John, What is you method for composing? I'm wondering because you may be able to help me be more productive with my composing.. Thank you John!!
What I meant to say was that I start with an idea- usually a fight or contrast between tonalities,textures ,rhythms,extreme ranges etc. It's always a musical materials problem -idea and with me it's always philosophical . Fast major 7ths in one hand competing with tonalities,Extremes of register contrasted , A woosh in the upper winds followed by percussion noise , music derived from a trill or a motif like the b.a.c.h. motif , or a conglomeration of pitches that fight against a key -sometimes several like the tremolos at end of my trill piece (Dmajor against Eflat7 ). It's always a problem -idea .That's my idea of fun. Even the simplest of my 1st book of preludes didn't come from melodic ideas for example look at the 1st one .It came from a motif about the sea that was troubled and dark used in Brahms op.76 no.1 I asked myself how could i make this piano figure deep down in the bass light and whimsical f#minor became the light,airy Cmajor and the register became bright higher up on piano but the difficult technical idea of the fingers is still there also Brahms ' modulations elide or slither out of the previous harmonic material (because he is talking about water ).I don't do that because water is not my idea(objective correlative is the historical term for this kind of trope) here so I use very simple basses which imply tonalities to work AGAINST the C major motif a completely different idea than Brahms was considering .I return to this idea often .It's a way of working with abstract material -not melody or emotion (even if i set a mood as in Bucolics it's a texture problem not a line-melody problem which is valid but I think is the way children construct music . So you see it's always a musical problem I want to solve .The last question I ask is what kind of structure suits this material .I go for the athematic ,the mysterious.So you won't find a rondo or sonata-allegro form unless I'm trying to break that sense of form.Most often I use aaba or aba .Abc is best because it presents new ,aterial and doesn't allow listener the comfort of what has gone before or already been introduced.I get formal ideas from literature ,semiotics ,metaphysics even film and sociology . My central idea is to bring real , living life into music .
I know what you mean, it's frustrating. The symphonies and string quartets have some good directions going (I really like your string quartet #3!!) The original piano preludes you posted here definitely amazed me though when I first heard them. I'm personally a perfectionist, so anything I compose I'm unhappy with (weather it's good or not), I also frequently have a short attention span to get my ideas out before I loose my original intent, it's so frustrating! How do you usually compose a piece? from start to finish or start in the middle?
what ya think about my jazzy "ludes ' 2nd book of preludes and TwinkleTwinklw variations let me know ?
Schrödinger developed the paradox, says Martell, to illustrate a point in quantum mechanics about the nature of wave particles. "What we discovered in the late 1800s and early 1900s is that really, really tiny things didn't obey Newton's Laws," he says. "So the rules that we used to govern the motion of a ball or person or car couldn't be used to explain how an electron or atom works." At the very heart of quantum theory—which is used to describe how subatomic particles like electrons and protons behave—is the idea of a wave function. A wave function describes all of the possible states that such particles can have, including properties like energy, momentum, and position. "The wave function is a combination of all of the possible wave functions that exist," says Martell. "A wave function for a particle says there's some probability that it can be in any allowed position. But you can't necessarily say you know that it's in a particular position without observing it. If you put an electron around the nucleus, it can have any of the allowed states or positions, unless we look at it and know where it is." That's what Schrödinger was illustrating with the cat paradox, he says.For centuries, religious texts have explored the idea that reality breaks down once we get past our surface perceptions of it; and yet, it is through these ambiguities that we understand more about ourselves and our world. In the Old Testament, the embattled Job pleads with God for an explanation as to why he has endured so much suffering. God then quizzically replies, “Where were you when I laid the foundations of the earth?” (Job 38:4). The question seems nonsensical — why would God ask a person in his creation where he was when God himself created the world? But this paradox is little different from the one in Einstein’s famous challenge to Heisenberg’s "Uncertainty Principle": “God does not play dice with the universe.” As Stephen Hawking counters, “Even God is bound by the uncertainty principle” because if all outcomes were deterministic then God would not be God. His being the universe’s “inveterate gambler” is the unpredictable certainty that creates him. The mind then, according to quantum cognition, "gambles" with our "uncertain" reason, feelings, and biases to produce competing thoughts, ideas, and opinions. Then we synthesize those competing options to relate to our relatively "certain" realities. By examining our minds at a quantum level, we change them, and by changing them, we change the reality that shapes them.