Three new Symphonic works.

This is my Symphony No. 22. (I use everything from Romantic theory, 13th harmonies, classical functional harmony, Jazz and Coltrane matrices, and Abuietta’s 15th chord, plus a lot of my own original music theory, working off of Reimannian analysis. Obviously, you don’t need to know any of that theory, I only want to emphasize that I take a truly ecumenical approach to music and music theory, going out of my way to study, learn from, and incorporate- everything.)

Starting at about 8 minutes 40 seconds, I’ve got this truly heroic theme that forms the basis of the second movement: (I will also link an except, which is just the main lick it’s based on: )

Then the actual Symphony: … -22-rev-92

Got my Symphony no. 21: … tasy-no-21

Oh boy: the basis of this, my Symphony no. 23, is a new chord-structure I developed, which I call the 15th chord. (It’s an eight-sonority complex.) … tasy-no-23

In November of 2017, Fixed Cross sent me an excerpt from a post of yours on the various eras of Western music. Since then, I’ve basically considered you the second Bach, although a contact of mine opined that you were rather like Bach on steroids (not in a good way). I can certainly appreciate your music—and Sorabji’s, whom I didn’t know before you mentioned him recently—, but it’s not really my cup of tea, and the same goes for your more convoluted writings (which is saying something coming from me). Just as Bach’s “Toccata and Fugue in D Minor” was instrumental to my turn to pre-1600 music, so your “Etudes: 10 Studies in Composition for Modern Keyboard Instruments” was instrumental to my renewed embrace of Goa Trance… (see; but note that the specific album to which your Studies wafted me back was this:

Bach, Sorabji and yourself are still too ‘neurotic’ for me, while on the other hand you guys don’t have the ‘kick’ that Goa Trance has (to which I really only listen while dancing or when outside, by the way).

If you could go ahead and make a video of you dancing, that would be great.

(I ask to see it for purely scientific reasons)

i second that motion
for science

Bach represents leaving the human world and looking at music as the expression of man’s search for transcendence. I am nothing, if not that.

And imagine that those 10 etudes were a set meant to open up the beginnings of my depth, I wrote them as a kind of introduction or primer to what would otherwise be possibly overwhelming. Me at about 1 percent of my power. Meaning, without the meme: I didn’t tax myself to write them, whereas, say, Symph. 23, is me taxing myself. That is me challenging- myself. I actually had to try to write it. And if PARODITES had to try to write it, I don’t know what someone will have to do to hear it. There’s 10-part fugues in it. (I’m aware that using 10-part fugues or the term ectypo-skhismatic in prose is potentially alienating.) Meaning, there are contrapuntal movements where ten different melodies are being played at the same time. (Even written in a more than one keys at one time.)

With that being said, it just isn’t something you’re going to dance to. Neither is Sorabjii. Neither is Bach, to be honest. (Sorabjii and Bach were not my cup of tea once either: once. I learned. I didn’t just learn to play and compose- I learned to listen, which is even more important.) What it is, though: is what the spirit can dance to. To be able to hear the music is as much a feat as composing it, at this level. (Not really, but I am making a point.) The point is, that you will only be able to intuit and hear a melody appearing through the interaction of 10 other melodies when you are able to compose similar things yourself. So it is music for composers. It demands a musical ability just to listen to it, let alone try to play it or even compose like it. And composers- I speak for them- we are starved for music made by other composers, for composers. At my furthest ambit, I will hammer anyone with the balls to listen with more theory than even exists, because I ran out and had to invent a bunch of my own. Enneatonic scales. 15th chords.

And for curiosity’s sake: to actually see at what level the composition is at, since I don’t expect most to read through hundreds of pages of score: (At 4:02— 4:25 , wtf is that? AUGMENTED SHIT SON.)

Music, philosophy, prose: it is all the same to me. Modes of expressing myself. I can’t be imitated, and you know in 10 seconds if what you are listening to was composed by me, you know in one sentence if what you are reading was written by me. Not very many writers and composers that is true about- and there is a reason why. The reason is, it is difficult to be a Self. Because so much has already been done. To be a self, nowadays, you have to discover something new. And nobody’s discovering shit in music theory except for me.

also this is dope: … erto-no-24

I actually liked your concerto. Nice melody, well harmonized.

Which one, I wrote 70 of them and they’re all 40 mins to an hour long.

My most recent one is this:

It takes a powerful mind to not be ashamed in front of me and run away, let alone- to enjoy. Kudos to you. Although it makes me sort of get pissed off. You dare enjoy me? What gives you the balls to claim to understand me? To enjoy me? That takes at least… 50 percent more balls than just understanding me.

I will have to single you out and fuck you up in the future.

You can snort a pack of Arby’s sauce off my tenpack abs for science. Not the red stuff. THE HORSERADISH SHIT. Matter of fact, that goes for the lot of you. I’d rather shoot myself in the fucking face than dance.

There’s two kinds of people in this world. Those who dance, and those who do not. Yeah motherfucker, I don’t.

That’s about all there is to that. DANCING=NO.