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  • Lucid : Dream For

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    San Francisco poet Candy Shue reading her poem, set to music by Jerry Gerber using VSL instruments and synths.

    "Remember—I'm not paying to listen to your dreams, you're paying me." Her voice is stringent, but sensuous, a honey-lemon cough drop. "Is that my only option?" I ask, hoping to get on her sliding scale. "Nope," she says cheerfully. "I could teach you to listen to your own dreams. But that will take a while—what do you say?" After centuries of leeches and lobotomies, alchemy and the hangman's noose, we were getting somewhere! I was finally starting to see it—the sheer over everything, even my own eyes. No matter I had woven it with hands helpless to do otherwise. On mountaintops and in coffee shops, monks were levitating in the lotus position; The Book of the Dead was playing on movie screens all over town. The moment hushed, an orchestra settling before the start of a symphony. I closed my eyes to let my ears take over. My body was oscillating on wavelengths owls could hear, every atom vibrating in its orbit, utterly at home. "Hallelujah," I whisper to my therapist as we buckle down to begin the hard work at hand.

    Play


  • Have you ever commented on anyone else's music here?   But whatever the case, it sounds very good. 


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    @William said:

    Have you ever commented on anyone else's music here?   But whatever the case, it sounds very good. 

    Yes, but only if I enjoy the piece and think it is really well done.  I don't offer negative feedback, criticism or advice. Part of it is simply a matter of time, the other issue is that my view of what constitutes good music criticism is very different than the general type of comments I read online.  Composer Mike Hewer has posted some pieces here I thought were really wonderful and I said so.  Guy Bacos has done some really nice production work, and I may have mentioned that before.  But in general, I believe that people are going to do what they want to do, the way they want to do it, as I do, and since creativity is such a highly personal and subjective experience, I respect that.  If somebody asks me personally to make a comment on their work, I supposed I would.  But nobody asks so I don't volunteer unless I have something positive to say.


  • Hi jsg,

    J. Gerber's music has always appealed to me and this time as a perfect soundscape for that beautiful poem (read evenso beautifully by the poet herself) it strikes me even more. Highly functional, musically powerful and never distracting or obtrusive. I wish I had such examples during my English teaching career...

    Glad to have listened to it!

    Max


  • You know Jerry I've always had issues trying to naturally meld synths with an orchestra. At best, I get them to just sound cheesy and distracting in the worst way. But your piece here has successfully given synths a considerable amount of stature within the orchestra demanding the respect they deserve. I'm sure Doctor Moog and Bryan Eno would be proud and most grateful. And the VSL sounds great too. Nice work.

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    @jasensmith said:

    You know Jerry I've always had issues trying to naturally meld synths with an orchestra. At best, I get them to just sound cheesy and distracting in the worst way.

    But your piece here has successfully given synths a considerable amount of stature within the orchestra demanding the respect they deserve. I'm sure Doctor Moog and Bryan Eno would be proud and most grateful. And the VSL sounds great too.

    Nice work.

    Thanks Jasen!   I enjoy integrating orchestral samples with synthesizer timbres.  A technique I like to use is to improvise and play around with soft synth timbres, listening to the harmonic, rhythmic and tempo fluctuations and to the signal processing and tempo.  That in turn helps me think in sound about the orchestration.  But for pads, it's different.  It's more about the harmony of the pad.

    Jerry


  • PaulP Paul moved this topic from Orchestration & Composition on