Opus 85 Funders is from a 6 piece compositional series called ‘The new world’ . these concepts are based around the establishment of country known as america .
These concepts drawupon a multi dimensional apporach to the music as they are conveying political views without words so its the emotive aspect that is focus. Thus it aligns with a initutive aspect which diving into a specific time resonance to extrpolate information into tonal frequencies .
Opus 31 Germanic Stronghold is from a 5 piece compositional series called ‘The united devils of the west’ which is a portrayal of the aspects of colonization.
The composition starts stripped back with guitar and interlocking sequetial paterns with call and response between woodwind and brass.a consant dissonance till the full rhytmn section comes into the heavy swing part.
A complete transition in this binary form composition which has a vast proportion of free improvisation before the swing.
Leviticus Op21a this composition utilizes more modalities as opposed to more of the atonal approaches in other compositions .The 3 piece rhytmn section adds a greater degree of formal establishment of tonality .
With its main premise being set on non linear approach to bop and modal jazz it can easily fleet into much more atonal aspects . This piece at times moves into bi tonality as the rhytmn section the bass and guitar arent always intended to be in the same key.
But we move into a place that allows further exploration of how to incorprate those compositional techniques into these piece while holding onto some level consanance .
This is the cataloging of my compositions into opus works with various different concepts this differs from the perspective of writing tunes as these tend to be much more intricate with non linear structure they are often much longer and utilizes avant garde techniques. I create these compositons using my transcendental improvised system which uses initutive techniques to compose music with an apporach that breaks paradigms and collectively units multiple concepts into one singular compositon.
I use a system i call the ‘ Transcedental Improvisation’ thus as athe name suggest transendence in the form of entering the plain of heaven/zion to access information from God. There is no doubt that in this system its about guidance and intution . Which in istelf is worship of the almighty as its about the utililzation of this symbosis that King Dawid did in the old testament. Writing the Psalms/Tehillim .
Were in reality notation systems were not prevalent or existence so tuning was intutive and based upon the rooting in his frequency to create replicable music to a degree but its more the system of creating a projected dimension . The Dimension of heaven being replicated in musical resonance.
This is a foundation of all the pieces is that form is prevalent throughout but its always a predetermined final destination also this battle of dnyamic opposite between consanance and dissonance.It would be pointless to create purely an atonal composition as the universe is created with intentionality .Thus there must be constract and context so atonallty and polytonality or type mate exist but with the understanding that there is coexistence with this dynamic opposite. Otherwise there is disparity between what those existentially mean.
Some of the compositions are built using projected logic in the sense that predetermined are aural translated as opposed to transcribed from the brain . so proportionally it leaves some of the unison playing down to the interface so at times there are embelishments on particular melodies played by certain lead instruments.
By combing certain instruments some require the player to play 2 different instrument familes at once which challenges the virtousity of the performer . You will see combinations of multiphonics also to create chords almost within the 2 familys moving into certain parameters in which it requires tuning into microtones.
Some of the multi timbral compositions are created using improvisational matrixes and spheres so creatign interlocking harmonies the act in way we percieve the galaxy from a helicentric perspective but in a 3d form.so in certain areas there is poyl tonality and just simply major or minor at points as its an expression of rotation and orbit.Particularly the Big band and large ensemble works in which overdub using a hiearchal approach with the fundamentals being rooted in the rhytmn section.
The purpose is use improvisation around intituition and using the tonalitly as an emebellishment of Jazz Language.
