ScottOpus Productions presents A CD of the original Music of Kerry R. Scott BUBBLE AND SQUEAK. This Music CD by Kerry R. Scott is a music feast with an international and electronic flavor. All the compositions are realized utilizing either the computer or a digital keyboard or a combination of both.Below is a listing of the tracks with a brief description of the various pieces. All compositions are original and are being premiered on this disc.
TRACK 1. - FANFARE
Realized and composed on the computer this short composition supports a full score in traditional notation. Set in a baroque style with instrumentation and harmony to support this style this composition is a fitting regal introduction to the diverse musical contents to follow.
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TRACK 2. 3. AND 4. - COLONIAL SUITE (It should be noted that the three following movements all use the same melody but in different forms) TRACK 2. - NEW ENGLAND QUICK MARCH
This short composition represents the fife and drum march used for the soldiers during the Revolutionary War. An added counter melody is also used to represent the use of a string instrument used while the soldiers were resting.This composition was again composed and realized using the computer.
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TRACK 3. - BATTLE AFTERMATH
As with the previous composition this work is representative of the horror and ultimate victory of the Revolutionary War. Again composed and realized using the computer this composition can support a complete score in traditional notation.
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TRACK 4. - GIGUE
This last movement of THE COLONIAL SUITE represents a celebration of a victory. Historically correct harmonies accompany a representative melody and counter melody. This combination seems to take the listener back to the very time of representation and indeed clouds the computer composition and realization techniques in use.
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TRACK 5. AND 6. -TWO WEDDING PIECES (Composed for Colin and Vanessa Kemp on the occasion of their wedding.) TRACK 5. - THE ENTRANCE OF THE BRIDE
This composition is the first of two that are live recording of the composer playing the pipe organ. The work was written for the wedding of a relative and was used to replace the more traditional wedding processional "Here comes the Bride" Composed by Richard Wagner. The work is appropriately regal and stately.
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TRACK 6. - WEDDING RECESSIONAL
Like the previous track this composition is again a live recording of the composer playing the pipe organ. This work was written for the wedding of the same relative and was used to replace the more traditional Mendelssohn wedding recessional. The work is based on the Baroque form of the Trumpet Voluntary with a counter melody appearing in the final section of the composition. In contrast the harmonic structure is Romantic in nature.
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TRACK 7. 8. AND 9. -TWO FANFARES AND AN ELEGY (It should be noted that the three following movements use a combination of the computer and the digital keyboard.)
TRACK 7. - ANTIPHONAL ENGLISH FANFARE
Again like the original fanfare this composition uses the baroque form. This time however a spacial format is utilized (Antiphony) with two choirs of three "virtual" trumpets and timpani. The middle section utilizes simple invertible counterpoint in a fugue-like section. A reprise of the original antiphonal fanfare motive closes this composition.
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TRACK 8. - ELEGY FOR SPAIN
This soundscape represents the various landscapes and atmospheres that make Spain unique within the globe. The "virtual" national instrument - the Guitar - is given total priority here and indeed the harmonies and rhythms, uniquely associated to Spain, also feature significantly within the framework of this composition.
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TRACK 9. - SCOTTISH FANFARE
This composition is not truly a fanfare, although it does include the sentiments of the fanfare form. The work tries to capture the spirit of the Scottish people and the unique landscape of Scotland. Notice should be taken of the use of Resultant Tones used midway through the composition, the timbres indicative of the national instruments of Scotland - namely the Highland Bagpipes and Scottish Military Snare Drum and the rhythms and harmonies indigenous to the people of Scotland.
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TRACK 10. 11. 12. AND 13. -TWO SOUNDSCAPES (It should be noted that the two following movements use the digital keyboard.)
TRACK 10. - CONFLICT LAMENT
Conflict Lament is an abstract soundsulpture of the landscape of Vietnam during the recent conflict. The victims are represented as the innocent and portrayed over a brooding and tense atmosphere with representative sounds (perhaps subliminal) of helicopters and low frequency moans.
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TRACKS 11. 12. and 13. - BUCOLIC SOUNDSCAPE
This, the second of the two soundsulptures on this disc, is a journey of soundscapes encompassing various areas which have indigenous sounds and can be easily identified. The composition utilizes some "virtual" ethnic instruments.
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TRACK 14. 15. AND 16. - CHILDREN'S SUITE (It should be noted that the three following movements are composed and realized with the use of the computer.)
TRACK 14. - BAROQUE INTRADA
In this composition an effort has been made to replicate the sound of ancient instruments. "Virtual" Flutes, String instruments and Trumpets are featured as well as the more contemporary Electric Bass Guitar. This Baroque instrumentation is supported by Baroque harmonies and melody structure. The form is the traditional Intrada (extended binary) form thus rendering the composition as (perhaps) a "virtual" Baroque musical experience.
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TRACK 15. - NOCTURNE
A Lullaby of sorts, this composition endeavors to demonstrate that computer generated and realized compositions can evoke and include sentiment within the context of the work. Simple harmonic and melodic structures are used as well as the Ternary Form to outline the composition. "Virtual"Instrumentation includes the use of contemporary instruments such as the Electric Bass Guitar, Electric Piano and Synthesizer. It should be noted that the first edition of this composition was written in 1968 and dedicated to the children (Audrey, Valerie Carey and Randy) of the composer's Host Family, Frank and Janet Smith, while he was a student at the Oberlin Conservatory of Music in Oberlin Ohio.
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TRACK 16. - PINOCOHIO'S NOSE
This composition is a Program piece in the form of a Fantasy generally following the story of the Puppet Pinocohio and his growing nose. This work makes use of a number of "virtual" traditional instruments as well as "new" sounds created on the computer to represent the Fantasy or dreamlike aspects of the story. All of the Children's Suite, while designed for children, can be equally well appreciated by adults.
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TRACK 17. thru 23. - GYPSY BACCHANAL (Composed for Stephen and Christina Gaffney on the occasion of their wedding.)
TRACK 17. thru 23. - GYPSY BACCHANAL
Gypsy Bacchanal makes use of both "virtual" traditional instruments as well as unique created instruments (sounds).The form of the work is that of a fantasy depicting decadent and unabashed celebration. The melodic format of this composition is based on the virtuoso performances of violinists such as Paganini and as such tries (like Paganni)to expand the listeners experience of technical difficulties. Although from the listeners point of view the rhythmic structure may seem simple it is, in fact, complicated to the extreme and it is only with the use of the computer as the performing medium that any accurate performance may be exacted.
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TRACK 25. - THE FRANCES THEME (Composed in memory of Frances R. Scott, Aunt to the composer.) TRACK 25 - THE FRANCES THEME
Frances Theme is a simple composition based on a simple melody. It is more of an interlude than a full composition but still has the ternary form applicable to short works.Frances Theme utilizes simple string and piano sounds all created and realized by the computer.
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