24) Bells / composition by Laia Genc
Bells.
Is a composition that I wrote for my 2015 Myanmar trip.
During the composition process I had the whole Hsaing Waing ensemble and a European Jazz Band (the Anne Paceo band) in mind.
From my first trip in 2014 I knew, that our gong player can play chromatically. And so I wrote a duo in the beginning of the piece for piano and gongs.
The rest of the tune had to fit into a d-minor tonality somehow. That was my goal.
Here is the score of "Bells":
https://www.dropbox.com/s/3zcxg28ilwnjigy/Bells.pdf?dl=0
>There were some natural little changes, now there are some call and response parts. Bars like for example 36-37 are played 36 by one player 37 as an answer by the other player. Which is fun.
It can always be arranged different in these places, depending what the musical setting is.
We did a duo video in the rehearsal in Cologne room in 2017.
It is an excerpt of Bells.
The Pad Waing plays the melody of the song.
We also recorded the composition at our Loft concert:
I want to keep this composition in our duo program. I feel it works really well. The piano sets beautiful atmospheres with the non-tonal-centered lines in the beginning. The instrumentation works out fine. Each instrument has a little very present moment in the beginning of the tune. So also the listener has a smooth access to the music. You can clearly hear the melody on the Pad Waing. Then comes a bit more strength fostered by a unison line, some call&response to bring a dialogue, light polyphony/intervallic approach inspired by Burmese music. Then tension is increased by using the powerful range and chord/accompanying possibilities of the piano. This tune also fits to my idea of a structured composition. It follows a well known sequence: Theme - Solo 1 (PW) - Solo 2 (piano & PW dialogue) with nice interplay - Theme out.
I feel that in this composition and arrangement each of us can keep the strengths of their instruments and at the same time contract an equal musical dialogue.
Is a composition that I wrote for my 2015 Myanmar trip.
During the composition process I had the whole Hsaing Waing ensemble and a European Jazz Band (the Anne Paceo band) in mind.
From my first trip in 2014 I knew, that our gong player can play chromatically. And so I wrote a duo in the beginning of the piece for piano and gongs.
The rest of the tune had to fit into a d-minor tonality somehow. That was my goal.
Here is the score of "Bells":
https://www.dropbox.com/s/3zcxg28ilwnjigy/Bells.pdf?dl=0
>There were some natural little changes, now there are some call and response parts. Bars like for example 36-37 are played 36 by one player 37 as an answer by the other player. Which is fun.
It can always be arranged different in these places, depending what the musical setting is.
We did a duo video in the rehearsal in Cologne room in 2017.
It is an excerpt of Bells.
The Pad Waing plays the melody of the song.
We also recorded the composition at our Loft concert:
I want to keep this composition in our duo program. I feel it works really well. The piano sets beautiful atmospheres with the non-tonal-centered lines in the beginning. The instrumentation works out fine. Each instrument has a little very present moment in the beginning of the tune. So also the listener has a smooth access to the music. You can clearly hear the melody on the Pad Waing. Then comes a bit more strength fostered by a unison line, some call&response to bring a dialogue, light polyphony/intervallic approach inspired by Burmese music. Then tension is increased by using the powerful range and chord/accompanying possibilities of the piano. This tune also fits to my idea of a structured composition. It follows a well known sequence: Theme - Solo 1 (PW) - Solo 2 (piano & PW dialogue) with nice interplay - Theme out.
I feel that in this composition and arrangement each of us can keep the strengths of their instruments and at the same time contract an equal musical dialogue.
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