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Composer's Journal | Brien Henderson | brienhenderson.wordpress.com Reviews
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Brien Henderson
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January | 2013 | Composer's Journal
https://brienhenderson.wordpress.com/2013/01
Monthly Archives: January 2013. Mosaic, Part 2: The Nature of the Object of Fragmentation. January 29, 2013. In Part 1 I discussed some of the motivations, but mostly the principles governing the composition of an upcoming piece of mine. As I’ve been writing small study pieces in preparation I’ve also given nearly as much thought to the piece … Continue reading →. Mosaic, Part 1: How to Make Mosaic Musical. January 15, 2013. If you like…. If you like…. This is the H-Scale.
brienh | Composer's Journal
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This is the H-Scale. November 22, 2015. This is the scale I concocted in 2012, and I’ve been writing all my music with it since then. It’s been a slow process uncovering all of its potentials and challenges, a process I’m still involved in. Really, one could … Continue reading →. Mosaic Part 4: Fragmenting the Object. May 28, 2013. Mosaic, Part 3: The Object of Fragmentation Itself. May 19, 2013. Mosaic, Part 2: The Nature of the Object of Fragmentation. January 29, 2013. In Part 1 I discussed some of th...
Mosaic, Part 3: The Object of Fragmentation Itself | Composer's Journal
https://brienhenderson.wordpress.com/2013/05/19/mosaic-part-3-the-object-of-fragmentation-itself
Mosaic, Part 2: The Nature of the Object of Fragmentation. Mosaic Part 4: Fragmenting the Object →. Mosaic, Part 3: The Object of Fragmentation Itself. May 19, 2013. I have now completed. Fragments of Lost Words. Part 2 discussed the nature of the Object of Fragmentation, and now here I will pontificate on the Object itself, as it is represented in. Look to sound itself as an origin from which they derive their material. Many composers turn to their own personal origins in music whether that be the c...
This is the H-Scale | Composer's Journal
https://brienhenderson.wordpress.com/2015/11/22/this-is-the-h-scale
Mosaic Part 4: Fragmenting the Object. This is the H-Scale. November 22, 2015. This is the scale I concocted in 2012, and I’ve been writing all my music with it since then. It’s been a slow process uncovering all of its potentials and challenges, a process I’m still involved in. Pitch-field as the ground on which the music is laid, thus providing a degree of consistency. This includes The Cantos Project. View all posts by brienh →. This entry was posted in Uncategorized. Leave a Reply Cancel reply. You a...
Mosaic Part 4: Fragmenting the Object | Composer's Journal
https://brienhenderson.wordpress.com/2013/05/28/mosaic-part-4-fragmenting-the-object
Mosaic, Part 3: The Object of Fragmentation Itself. This is the H-Scale →. Mosaic Part 4: Fragmenting the Object. May 28, 2013. Having rigorously and painstakingly composed some music which I would compare to a precious ceramic bowl, for example, in the Composition phase of writing the piece, I found myself in the position of having to destroy that ceramic bowl, shattering it to pieces. When the process was complete, I had 422 fragments of music. Most of these were sustained tones, and so wouldn̵...
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Sounds | Brien Henderson
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Composer’s Journal (blog). Whenever I write with pitches, I use a self-constructed scale. A friend and colleague once referred to it as the Henderscale, which I have adopted solely for its humor. The Cantos Project is a side-project I’ve undertaken to simply experiment with writing melodies in the scale and to combine them to discover and show its harmonic potentials. Leave a Reply Cancel reply. Enter your comment here. Fill in your details below or click an icon to log in:. Address never made public).
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Details | Brien Henderson
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Composer’s Journal (blog). If you like…. If you like…. Create a free website or blog at WordPress.com.
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Composition | Brien Henderson
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Composer’s Journal (blog). My recent work takes three sources as its guiding points of reference: (1) the statement of the architect Antoni Gaudí that originality consists in returning to our origins , (2) the diffuse array of varying styles in modern music, and (3) the trencadís style of mosaic associated with Gaudí’s architecture. I have organized these sources into the following musical dialectic of Composition, Fragmentation, and Re-Composition. Leave a Reply Cancel reply. Enter your comment here.
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Ideas | Brien Henderson
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Composer’s Journal (blog). Leave a Reply Cancel reply. Enter your comment here. Fill in your details below or click an icon to log in:. Address never made public). You are commenting using your WordPress.com account. ( Log Out. You are commenting using your Twitter account. ( Log Out. You are commenting using your Facebook account. ( Log Out. You are commenting using your Google account. ( Log Out. Notify me of new comments via email. Notify me of new posts via email. If you like…. If you like….
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Summer 2007
A daily account of my summer internship experience at Dallas/Ft. Worth International Airport spanning the Summer of 2007. Aint No Mountain Hiiigh Enough. I am me. I desire to be no one else nor do I succumb to the imaginations of those who would like me to be or be like someone or something else. View my complete profile. Wednesday, August 1, 2007. Ain't No Mountain Hiiigh Enough. Tuesday, July 31, 2007. Kelly Johnson didn't get the position. They said it was a "fit" issue. Thursday, July 26, 2007. Other...
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Composer's Journal | Brien Henderson
This is the H-Scale. November 22, 2015. This is the scale I concocted in 2012, and I’ve been writing all my music with it since then. It’s been a slow process uncovering all of its potentials and challenges, a process I’m still involved in. Really, one could write any style of chromatic music they want with this scale. It has all 12 pitches, but the rule I’m continually coming up against is that not all 12 pitches are present in every register, and the scale spans two octaves before it repeats. The proce...
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Brien Henderson | composer, educator, critic
Composer, educator, critic. Premiered by Ensemble SIGNAL at June in Buffalo 2013, where Henderson was a participating composer. The principles of seeking originality by returning to origins have now been augmented by the influence of The Confessions of St. Augustine. On Henderson’s artistic concept and current projects. These projects have included Confessions: I. For viola, the first in a series of unaccompanied works, and. Noli esse vana,. A setting of a text from Augustine’s Confessions,. For Ut Re Mi.
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