For Deep Listeners, Patient Listeners: Symphony #7, 4th movement

[Jerry Gerber]

No matter how far sample libraries, computer and audio technology advance, the aesthetic, imaginative, and structural choices a composer makes will always be the determining factor as to how well something works as music, as composition. It is as true today as it always was: composition is about ideas as well as sound, and the abstract nature of music makes it an ideal art for expressing ideas that can only be said in music. A computer cannot feel, it cannot know beauty or intuitively sense the charm of a melody, this is why I put more emphasis on imagination than I do on technology. Not that I don't appreciate fine tools, of course I do.

Take a listen to the 4th movement of my seventh symphony if you have 12 minutes. (12:27).

p.s. Some of you won't care for the integration of software synthesizers and orchestral samples, one reason being that it "gives away" that it is not an acoustic orchestra. I guess we all have our own obsessions! Thank you for listening.

Jerry Gerber

www.jerrygerber.com

[suon]

Really awesome!  How long did this take you - it had to be a lot of work.  Personally I'm not turned off by the synth stuff.  And I don't think I'm put off by the lack of realism either, unless its subconscious.  What I really wish, however, is that the mix style itself magnified the drama that I was hearing in the music itself.  Unfortunately I can imagine that's where most people will turn it off, before giving it a chance.

I also disagree about the philosophy that its the listener's duty to be deep, patient, and imaginative. I'm definitely on the opposite school of thought =).  Its our duty as creators of the works to cater and appease to our target audience... otherwise, they're not really our target audience, are they?  Maybe that's discussion for another time.

But enough of the disagreement... I'm really excited about it.  I already learned a few compositional strategies just by listening to it a few times.  And the synthesized parts are "well orchestrated", I feel like you made very creative and effective use of them, without going all '60s on us. =)  The piece itself has pretty dramatic moments, and you're impressively skillfull with tonal aspects of composing!

[Jerry Gerber]

Hi Suon,

My symphonies generally take about a year to 1.5 years to complete, from initial composition to finished recording. I think #7 took about 1.5 years. My experience with listeners is, just like composers, some are more talented than others. I don't mean that the composer doesn't have a responsibility to "grab" the listener, but that once you "grab" them you have to offer the deeper listener with something more substantial. I am glad you found something of value in the movement.

Jerry Gerber

CD Store

[suon]

@jsg said:

I don't mean that the composer doesn't have a responsibility to "grab" the listener, but that once you "grab" them you have to offer the deeper listener with something more substantial. 

OK, I see what you mean, now.  The point is well taken. =)

Cheers,

~Shawn

[Cyril Blanc]

It's a very good work, you have good ideas.

If you want to compose a hit you should have melodies, gimics, that are easy to remember, so you have to play them a few time in your symphony

Listen to pieces like "from the New World of Anton Dvorak" , 1492 and Chariot of fire of Vangelis

[hjos]

 Very nice compostion of this music.

The work is great but try when you have time to go back and work on mastering editing this nice piece of work.

You should have the ttols to position the instruments and bring now and than some brilliant effect.

You will see that it will become a master piece!

Good luck

Hjos

[Jerry Gerber]

What are ttols?   I am happy with the position of the instruments, but thank you for the suggestion.  

Jerry

[PaulR]

Yeah - fantastic. Love the way the organ comes in.