Wednesday, April 12, 2017

Lyraka and the "Serial Vignette" Approach to Composition, Pt. 1

After recently reviewing my work of the past eleven years, I've come to realize that I'd quasi-inadvertently invented a musical form that is the product of what I call Serial Vignette Composition. That type of writing was already evident on Lyraka Volume 1 ("Palace Guard", "Errandia", "Neires"), and since then I have refined its execution a great deal, coming to a strikingly effective...let's say, personality quirk. My definition of this term changes the game, as this form of stream-of-conscious vignette writing has never been as thoroughly explored as in my music. 

Please bear with me for a mercifully brief autobiographical aside.

When I was young, my parents were huge movie buffs, and we regularly went to cinemas to indulge. Movies were a big part of my life since I was young, and I came to love them very much. One of my favorite directors is Quentin Tarantino, and I'll never forget watching the layout of his films ("Pulp Fiction" and "Kill Bill" for just two instances) and feeling as though I'd found a creative soul mate. The way I diverge from his method is by not being as ruled by the movie form as he (understandably) wa$. To elucidate, Tarantino's films led to satisfying conclusions/resolutions, despite the odd internal sequencing, while my music tends to mirror more the internal experience by often leaving conflicts unresolved, or radically resolved to (say), a rare (and/or seemingly random) chord or sudden halt, explosion...MacGuffin. In regard to those latter mentioned attributes, my music is probably more indebted to the  Hitchcock/Herrmann collaborations, particularly in terms of execution but not just.

This style of composition could be seen as either an oblivious concession to and/or more "artistic" example of of the ADD (i.e. popular) culture we live in, but it originally stems more from my own,  vignette-laden inner experience. To be more specific, I often reflect on experiences in a cinematic way, and this is why much of my music sounds storyboard-ready. The ultimate goal for me is the substantiation of my own, inwardly experienced art and personality into music, and....

I will continue to pioneer this method of composition, mostly because I've found a compositional style that most accurately represents my inner reflections.