1. If you consider me a young composer (I’ll be 29 next month), then indeed there is a young composer genuinely interested about your work and how it is done. Specifically speaking about microtonality, I only got more interested in it reading your explanations.
    All you write about rhythm is also very much appreciated.
    Anyway, I’m sure there are those younger than me who are interested in what you do

  2. It could well be that many composers, and Boulez in particular, keep secret their methods to create and sustain a mystique around their work. However, most of the composers and indeed other artists I know are unwilling to share their methods for another reason, a reason which they can’t always put into words — the fear of scaring away their muse. Perhaps call this a superstition, but that name makes it no less real for many of us.
    KG replies: Aw, you’ve gotta train your muse. Mine’s so demoralized that she’ll put up with anything at this point. Probably doesn’t work as hard as she used to.

  3. Thank you for letting us know how that piece was written. It’s not very often I see people being open about their work, or their intentions; and even less than that, being enthusiastic about it.
    – Ernest
    21 years old 😉

  4. hi kyle,
    thanks for explaining your method. Solitaire is an interesting and beautiful piece. The recording is sequenced MIDI, right? What program do you use that allows you to input your own scale? you didn’t explain that method. Thanks!
    KG replies: Always happy to explain that, although the way my technology has evolved is kind of clunky, and I’m sure there’s a simpler way to do it. I put the scale as ratios into Li’l Miss Scale Oven, which takes about .04 seconds to make a script that I can load into the script editor in Kontakt to retune the samples there. I write the piece in Sibelius, letting it run Kontakt via internal MIDI so I can hear what I’m doing. Then I save the file as MIDI and import it into Digital Performer on an old Mac laptop (don’t ask), humanize the file and adjust every note to what I want, and use DP to run Kontakt, recording onto Sound Studio. Then I put the separate aiff. files into Logic and add reverb, panning, adjust dynamics and EQ. Someone smarter could whittle this down to two programs, but I’m really used to doing it this way.

  5. I thought Boogie Woogie was the vessel of the eternal present. (Robert Ashley)
    KG replies: “The vessel of the eternal present” is also the name of the first chapter of my Ashley book, which is why it’s on my mind lately.