I watched this years ago and had forgotten about it, and I now live in a neighborhood in Chicago that borders Wicker Park. Always fun to have a personal connection to a cool piece like this!
Really loved this. Haven't heard anything quite like it before. And you did a really great job with the video editing! Really helped to get me into the piece.
First of all, I wouldn't consider this "avant-garde" music at all (unlike many pieces featured on ScoreFollower) - the harmonic language is quite consonant, and the form is very simple. As for key clicks, they create this soft percussive sound which contrasts with the normal playing technique of wind instruments, which can give an impression of two voices and also adds a rhythmic dimension. I think they're used very well here
I couldn't make a broad statement on all composers - but in this piece I think the key clicks are a way of adding to the embodied sense of motion in the piece. At many levels the piece is about riding the line between in-control and out-of-control. The keyclicks and breath sound add to the sound by indicating that it's a performer moving frenetically both in their breath and their fingers. The overall sound is one with fleeting melodies and pitch figurations coming out of the frenetic texture. That's how I hear it anyway.
I would not go as far as saying it had nothing to do with what you hear, but it sure is just an approximation of what is to be heard (and what the composer has meant it to sound like). It's the same with words: they only convey an (at best close) approximation of what is meant to be said. Since this seems to be Balter's original score, I'd say it's pretty close to what is meant for us to be heard.
The notation here is serving as instructions for the performer. The composer almost certainly understands that certain instructions (extreme soft dynamics paired with wildly fluctuating trills, for example) will actually result in a different sound. In the case of extremely soft dynamics paired with quick passages, the audience might only hear key clicks and the occasional note that chirps out. The notation is the means to a musical end. And the music here is fantastic.
![Joseph Michaels - Assembly Line [w/ score]](http://i.ytimg.com/vi/HSOIRwxJxjw/mqdefault.jpg)
![Joseph Michaels — Assembly Line [w/ score]](/img/tr.png)
![Christopher Cerrone - Liminal Highway [w/ score]](http://i.ytimg.com/vi/Xc65UH7ku8Y/mqdefault.jpg)
Beautiful performance - rest in peace, Ryan Muncy.
one of the most stunning pieces of music ever written
I watched this years ago and had forgotten about it, and I now live in a neighborhood in Chicago that borders Wicker Park. Always fun to have a personal connection to a cool piece like this!
Really loved this. Haven't heard anything quite like it before. And you did a really great job with the video editing! Really helped to get me into the piece.
The sonority at the 1:26 section is beautiful.
An excellent performance
i was at a performance of this, it was amazing. love looking at the score.
It just doesn't get much better than this
Such a beautiful piece.
I know this is a major stylistic contrast to most of the pieces featured on Score Follower. It's just waaaay too nice not to post :)
I'm glad you did!
Me too! I was just reflecting on the lesson I had once, with Marcos Balter, and a friend showed me this :) Love it!
No problems with stylistic contrast at all!!!
@@DanielMendesguitar Back in 2014, when this was uploaded, it felt like a stylistic contrast, but it no longer feels like that to us at all :)
what's exactly the stylistic contrast?
Thanks for posting this, I really enjoyed it.
Sooo beautiful!!!
so good...
this is beautiful!
Bravo!!
RIP Ryan Muncy
Glorious music a very lovely masterpiece!!!!!
Best saxophone piece i've ever heard...!
Hmm, not A Love Supreme?
@@topologyrob the best saxophone piece ever is
CARLESS WIHSPER!1!1!1!!!1
I remember hearing this live at NIU
Dang, sounds good
Amazing piece, actually makes me want to relisten again and again.
très magnifique!
I remember the film "Wicker Park" with Josh Hartnett a few years back.
John from where, compositor?
I am extremely interested in like, a program note about this work. I have so many questions for Balter about this.
Kimia from where?
Where would I be able to purchase a score for this piece? Can't find it anywhere.
marcosbalter@hotmail.com
This avant garde piece is actually quite beautiful, you have found a way to use atonalism and extended technique to your advantage Very clever
jlapierremusic clever dude indeed ;)
cute
I just can't understand why composers of avantgarde music have such a fascination for key clicks (?)
First of all, I wouldn't consider this "avant-garde" music at all (unlike many pieces featured on ScoreFollower) - the harmonic language is quite consonant, and the form is very simple. As for key clicks, they create this soft percussive sound which contrasts with the normal playing technique of wind instruments, which can give an impression of two voices and also adds a rhythmic dimension. I think they're used very well here
I couldn't make a broad statement on all composers - but in this piece I think the key clicks are a way of adding to the embodied sense of motion in the piece. At many levels the piece is about riding the line between in-control and out-of-control. The keyclicks and breath sound add to the sound by indicating that it's a performer moving frenetically both in their breath and their fingers. The overall sound is one with fleeting melodies and pitch figurations coming out of the frenetic texture. That's how I hear it anyway.
@@mm-dn6oe thank's. that makes sense to me!
lol 7 years old
notation has nothing to do with what actually sounds
I would not go as far as saying it had nothing to do with what you hear, but it sure is just an approximation of what is to be heard (and what the composer has meant it to sound like). It's the same with words: they only convey an (at best close) approximation of what is meant to be said. Since this seems to be Balter's original score, I'd say it's pretty close to what is meant for us to be heard.
The notation here is serving as instructions for the performer. The composer almost certainly understands that certain instructions (extreme soft dynamics paired with wildly fluctuating trills, for example) will actually result in a different sound. In the case of extremely soft dynamics paired with quick passages, the audience might only hear key clicks and the occasional note that chirps out. The notation is the means to a musical end. And the music here is fantastic.
It very clearly relates to what sounds.