Unrealized Keys

//Unrealized Keys

Unrealized Keys

This week is featuring an informal conference or panel discussion about music. It’s been great.

At the same time I was composing this piece where I said that it is in an unrealized key. This meant literally, a one-handed piece, and harmonically. The piece wants to honor its tonal definition, but never gets there. I’m not sure how edgy all this is but the piece took on a life of its own. This ended up being a one-handed piece. It also had all the good intentions in the world to be true to the key it’s in, yet never arrives home, so to speak. The piece wanders sort of tethered, yet disobeying its own self-identity. It swings around on the dominant but fails to do what dominant harmony is supposed to do. It births itself into the key of G, but never gets there. My piece starts and ends, more or less lost to itself– like wandering aimlessly. At least that is how it seems to me. The creative canvas here is one of the DAW platforms, the one we support, Logic ProX. The uses the textures of grand piano, Rhodes, and a viola orchestra… Yet, there are two things next that could lead somewhere. One supposes that the pianist has one hand that is not being told what to do yet and, so, could play a second instrument or make inside noises. The other point on my mind is that the strings (the link next) could be represented by some other extended sound. soundcloud/winters/never Composing was done here at home, at my studio, and in the car. Never 3½ was my idea and was about our reverence for answers in life but then time running out. The mind drifts to artwork, well, with this hazy realization of itself both sonically and visually. The more clear copy is my color rendition of, a little warped, the piano part, but a normal pdf of the piano part is right here. I’d hope to do more with hybrid compositions, part notation, part noise, and “unrealized ideas” within a piece.

One-handed piano part as a stressed out image.


About the Author:

After Jim Winters arrived as a jazz trombonist for years, he now has now finished his second year as a graduate student here at IMRC. He owns two hurdy gurdys, thus exploring drone-musical work and the aesthetic value of unfinished music. His concentration ranges from experimental-musical composition to photos, sometimes wondering about the colonization of 12-tone Western music vs. noise.

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