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thank you

Thank you!

i don't see any email ------- paul dot betjeman at gmail dot com

I don't look at emails as much as I used to and don't have your email address - but if you give me the subject line of the one you sent, I should be able to get it from that. PaulB

@@paulbetjeman9933I just resent the email under a different address using the subject line "Requesting Information Regarding a New Book"

thank you

i don't plan things ahead of time that way. I have now 18 more double pages written but not realized of this current group (from 'around the edges' of my all interval series) . looking at the series and culling note groups from it and then working them is how I do things. it's what comes easily for me, so I do it. (And Hallelujah I've finally found a source of this archives double foldout sheets paper which I like - I had been going to the backs of paper I'd already used - which I did not like doing. )

@@paulbetjeman9933 Thank you for your response! Normally I make a loose structure in my mind and figure the rest out while composing, but sometimes I will write the entire thing out in my mind. I love the archives paper! Personally, I use the 18-stave landscape kind, but I also import custom 30-stave paper(the lines in 40-stave paper appear too small) for my orchestral writing.

and actually this one needs some refining -- I put it out too quickly and was conscious of that. Maybe I'll do it and maybe I won't. If I do, it'll come out as a "reissue". PaulB

thank you.

thanks - but I think my time is better spent writing now

thank you

thank you so much. there is more to come from this batch of writing - done in NY over Thanksgiving and Christmas last year. PaulB

thank you Arobamod --- I am using these settings for the start of the next group - am writing again now

@@paulbetjeman9933 I am very excited to see what is to come!

who asked

What a terrible reply to a wonderful video! There are many of us in this world who love listening to this music and if you don't like (or understand) this music, then this place is not for you!

thank you

thanks

thank you Andrea

Hello Andrea - I had wondered about your disappearance. But only one of your posts with photos of written scores seems to be up now.

@@paulbetjeman9933 because deleting the channel all files have been lost. But now I'm re posting them, a little at a time. Thanks for your attention 🙏 I'm glad to hear again your music language.

Not an easy question to answer - it's an accumulation of things I know about music, finding, first at Berklee, that composition was the only thing which "comes easy" for me -- I write with a slow improvisatory method. You do what you can do.

a fuller answer to your question maybe is in the "description" of Las Cruces XI here. Also spending a lot of time, and writing and producing things, at the Columbia CMC (computer music center) in New York on 125th st, provided major musical experience for me - although only peripherally around "organizing pitches".

@@paulbetjeman9933 so it's largely intuitive and not necessarily based around serialism, set theory or such?

Yes, although I have used this all interval series, shown at the end of Las Cruces XI, as note group source material for a while now. (And I have today started a new piece with it.) Thanks you for your interest. PaulB@@scronchman0146

thank you

thank you very much for your comment. I will be 86 this month and think that my time is best spent writing and posting new stuff. the nagging exception being that I would like to "un-elide" the piano sonata. I cut up and, when very tired, excessively "elided" (response to Wolpe's "elide elide elide") ,the well copied (by me) score - by cutting it up and magic taping it back together. That is the version which I realized - all of this happened quite a while ago. But i do have that score and so could unelide and re-realize it - a big project - starting with finding the score. Thanks again PaulB

@@paulbetjeman9933 Wow, we are exactly 70 years apart because I will be 16 this month! I want to spend my time writing and posting music as well. Most of the things I have written are not very good, including the one on my channel, but writing music is what I wish to do.

I like your invention in D minor - the notation suits the sound -- and the fact that you use the expression "as well" makes me think you are English (no response needed). @@Arobamod

If there is a specific piece where you want blurry score photos replaced, I can do that fairly easily -- and post iMovie again as a "re-issue". PaulB

@@paulbetjeman9933 I have been going through your channel for quite some time and listened to your great masterworks. One that caught my eye the most was you work 'Hawthorne'. At the end of the work, the score becomes blurry beyond legibility, that is the work I would like to a re-issue of. I also ask you to "unelide" your Piano Sonata and post it here. The elided version was really incredible and now I must see the full work.

Thank you --- there is a new youtube up to meas 149 (mm 72 from measure 30 on) - and i am continuing with this piece. PaulB

I thanked you for your comment before, but it has somehow gotten erased. - thank you annamilluzzo8077. as you may know, I have put up a finished version of that piece , and started a new set called Las Cruces , stemming from a part of the same materials as the Catch series. Paul Betjeman

@@paulbetjeman9933 Grazie e buon lavoro e carriera !👌

thanks to both of you for your attention!

thanks Kieran

thank you for this generous comment There isn't a legible score yet of this yet, as I am remaking the piece in segments as I realize it - but your interest to do a legible score when the realization is finished and sounding the way I want it - but that will take a while. In the meantime I have other scores which are existent and legible of other pieces on my channel if you or any of your colleagues are interested in them. I would particularly like to have someone do "The Strings" for cello alone, the youtube realization I made several years ago sounds on piano. my email address is paul dot betjeman at gmail dot com

Thank you Ralph for this generous comment. In answer to your question, I have never been much interested in having electronics or a computer 'do the composing', although some people are. Control and accuracy and the possibilities of different performance methods are what are appealing to me. The performance you went to was not satisfactory (due to a dispute with the management about use of their as opposed to my sound equipment) - but the singer was excellent, and thank you for having been there.

@@paulbetjeman9933 myself as well. My question was to do with some musing thus..... . If you utilize electronic instruments to play compositions that so called traditional instruments can not..........If that were the case then i would say that you in fact are utilizing the technology to write the composition. Are any of your compositions unplayable by human hand or mouth for example. I myself spent hours galavanting on the equipment you taught us to manipulate patching arpegiating magic to itself. We students would smoke in the woods starting lunch periods and sprint to the empty engine room lab where the eternal spring of sound sprung. Sine tone, square wave, ..et al.......could be found Because of our access as students to your lab. I have never stoped playing and composing along the lines of such a feccund introduction to esoteric sound and composition such as my hand crafted electronic compostions can be considered to be so. I spent considerable time implementing the influence of the sounds I was exposed to patching everything on the original booklah board to itself. Nothing in the world like surfing arpegiating synthesizer with every additional effect Sliding Towards heaven. Do you have a generic e mail address of any kind as i would be honored to share a few of my recordings and perhaps ideas. I recall you entering the chorus van to drive us back after a performance on the passenger side so i am sure you will understand my relationship with a smart phone. Be well

@@katmandew2152 paul dot betjeman at gmail dot com

Thanks for this nice comment Ralph - I remember you well - and that chorus group. "Mill House" and "Hawthorn" on youtube have more legible notation (some of the time). PB

reply 2. "Slow Burn" integrates two live instruments with the Buchla 400 and conventional notation.

Thank you for your kind words about this piece. The recording sounds the way it does because I was using the (first version?) of innovative Crown mikes on the church tile floor which had only a 1/4 inch space between the floor and the sound pick up element. There was some 60 cycle or building heating unit hum on the recording but I don't hear that on my headphones now. (If you do, it might need to be notch filtered out ,) A long preamble which does not answer your question, sorry. The short answer is no. th-cam.com/video/UT7zgz9AO4Q/w-d-xo.html was the only piece I wrote specifically for the 400, and there was no recording of that tech issue plagued performance. My comments on one of the complete versions give information about what happened. Thank you Ryan for your interest. paul betjeman

thanks for commenting Kieran - this realization was made with a Yamaha TG77, not the Buchla - I will email you an answer. Presently I am occupied with remaking this upload because it disappeared from my iMovie library in the process of uploading from my venerable G5 Macpro. (There used to be a warning not to do other things while an upload was in process, but last night I did. I still have the sound files and score photos so I am remaking the iMovie project - and will continue with the other three segments of that piece.)

Yes - sure I'd accept email. I just put it up on the 'about' part of this channel . send another comment here if that does not work.

Thanks for your reply! Unfortunately, I'm not seeing your email address on the 'about' page. I'm [kierod at gmail dot com] … feel free to delete this comment once read.

Thanks Terry.