Music Downloads & Lyrics
this is Ben nbut a classical composer
and here's his piece Hallelujah Sim at
last year's BBC proms
four but alongside traditional composing
tools like a piano and a metronome Ben
uses splice a sample library that not
everyone loves I highly highly recommend
that you do not use splice Loops don't
use splice that's cheating traditionally
using some of these ready-made samples
has been seen as lazy or parameter is
but in pop production that attitude is
changing the original 4 million samples
splice had has now grown to over 20
billion and that's useful even for
professionals I used to have this
arrogance about just using a splyce loop
as is I started to think am I letting
Pride or ego get in the way of a
potential creative moment eventually I
resolved that it was ridiculous to feel
that way but that's pop production no
one uses splice In classical music
except Ben and that's because Ben has an
unusual mind mind how unusual to find
out we're going to play a game your task
is to unlock the secrets of Ben's
mind the game has three stages stage one
upload 50 seconds of Ben's music into
your
memory stage two navigate through Ben's
mind collecting wisdom
points and avoiding
doubts stage three gain wisdom and
understanding you ready to
play
Bitcoin yeah I'm I'm telling you
the the price of Bitcoin going to be
going up up up up
up listen to me stop interrupting
me oh my God stop interrupting me
I'm trying to talk to you right now yeah
I'm telling you
man just listen
Jen yeah I like this thing of breaking
up something into a fragment
the electronic sound there I think
that's from like an alien sample
pack and then when he says up up up up
up going to be going up up up up up this
is like game notification sound I think
but I've just used the transpose thing
on logic to change the pitch so it's
going up and then you got
beeps and typing as well and then I
combine that with the cello doing um
coleno
um so you go I mean I feel like I have
quite a narrow range of like sounds that
I'm drawn to like sometimes just I just
type in game into splice and then you
get all these like video game like UI
design
um and I just spend like so long just
scrolling through these sounds like even
just the sound of like
scrolling it almost like sounds like
music to me at the moment I'm using
um a lot of like sword sounds um cuz
like you know a lot of sounds just like
PE or like an impact but when you find a
sound that's like it like crescendos
into
something so like like pairing that with
like a cello or run
yeah I like this thing of breaking up
something into a fragment and then you
kind of
like keyscape actually has before you
load up any piano sound the default is a
S Wave they have these presets these
microtonal presets so usually what I
have is I have two up I have one that's
in equal temperament and then I have one
that's in 31 ET so dividing the octave
up into 31 equal steps I'll usually just
play a chord I like on the the equal
temperament one like
this and then on the 31 equal
temperament one I'll play one note
within that chord and just so it kind of
like nudges up against that the equal
tempered chord um so you get like this
nice beating so this is the 31 equal
temperament by
itself so then with the chord you get
you're like whoa whoa whoa whoa whoa
whoa whoa whoa um which just makes time
waves like a little bit more interesting
I did that a lot in this piece called
tell me
again and also in three studies
yeah and I do that at the end as well
here that's the equal tempered cord and
then this is the 31 equal
temperament so then you
get just this like gentle throbbing I
really like yeah I like this this thing
of breaking up something into a fragment
and then you kind of like you have it
recur something I was thinking actually
was like a lot of my music there's a
voice that kind of like anchors the
whole piece um and it kind of acts as
like a through line cuz I think
otherwise when you're using lots of
samples it it can easily just feel
really random and there's something
direct about voices they pull you in as
a listener that instrumental sounds
don't necessarily do like there's
something like on a kind of human or
like psychological level that just like
you're drawn in by the voice so Serenity
2.0 that starts with this guy's voice
that's like deep
relaxation total beautiful
relaxation ah yes I had this sample of
this guy talking about Bitcoin I'm I'm
serious man yeah I'm I'm telling you the
price of Bitcoin it's going way way way
down now is the time you want to buy
it's going to be happening man which I
chopped up into like lots of fragments
Bitcoin and yeah I'm I'm I'm telling you
the the price of Bitcoin just starting
with that voice straight away like I
really like the directness and I thought
it would be cool to like alternate
between his voice and then have someone
else speaking so I just came up with a
dumb song about dreams
J know dreams are strange aren't they
yeah I like this thing of breaking up
something into a fragment and then you
kind of like you have it recur but each
time it's sort of
like and then the music started out as
me improvising on the piano and kind of
just like building these little
gestures and then finding ways to
accompany it with um the electronics
usually I improvise it first and then I
figure out how to notate it so what I
was trying to do was have the two people
talking to each other and then the music
acting as some kind of like manic glue
between the two voices instead of like
ping-ponging the energy back and forth
between them so I'm kind of working on
the score at the same time basically
once I have the basic structure of the
voices in place I get dorer up and then
I kind of like put the time signatures
in and then I start to try and notate
the stuff that I've improvised on the
piano and I think yeah that's usually
when I realize oh the music is quite
complex but it never feels complex at
the start because I'm just improvising
it and it's like coming from my body
like it's a bit like if you would
transcribe what I'm saying now it would
be really complicated and there would be
all these like weird rhythms and like
microtones and stuff but it doesn't
sound complex cuz it's just like it's
it's natural in a way so yeah I like
this thing of breaking up something into
a fragment and then you kind of like you
have it recur but each time it sort of
like the story sort of like unfolds a
bit more
where is that line between something
that's playful and something that's just
gimmicky so like with Hallelujah Sim
while I was writing that I was really in
my head about you know is this going to
work is this too
gimmicky
welcome
to
Hallelujah you know having the voice
like the AI voice that's telling the
choir what to do
Hallelujah one first
syllable elos
only
Sopranos
teners
bases
together
good the whole time I was thinking like
is this interesting or is this is this
just silly I think for me part of
finding that balance between seriousness
and playfulness is you can do whatever
you want like stylistically being as
playful as you want or taking sounds
from like pop culture or memes or
whatever and you can just throw it all
in there but I think to counter that you
have to put as much thought and care as
possible into the way that it's
constructed and and like making sure
that all the ingredients that you have
there's an intention in how they're
placed alongside each other so it
doesn't just feel really halfhazard and
messy but actually like there's been a
lot of care put into how it's
constructed that's how you kind of like
tell the listener that you are being
serious even though you're being playful
yeah I like this thing of breaking up
something into a fragment and then you
kind of like you have it recur but each
time it sort of like the story sort of
like unfolds a bit more that's quite a
nice
way like I realized the other day
actually like most of my music is just
all white notes
I just like that you know when you're
like on a piano you just go boom like
you know and it's like it's really
freeing actually to to not have to think
so much about Harmony and like harmonic
harmonic progression and things like
that and actually you treat it like a
block of sound and then it's almost like
a tambra it just becomes like an object
that you can like arrange and then um it
opens it up to like Rhythm and like you
can be more expressive in other ways
yeah I don't know I don't know that's I
don't know what makes it classical I
mean I guess in the sense of like I'm
usually working with classical musicians
who are classically trained and it's
notated yeah and there's like quite a
high level of precision involved that
people in other genres or like other
fields aren't used to so classical in
that sense yeah that's all the only
sense that matters
really randomize
like being asked to write a piece for
like you know the problems and the first
night is really scary and you know
there's something about that whole world
of like Royal Alber Hall and these big
choirs and orchestras and it feels kind
of alien and scary to me and I wanted to
like take the symbols of that kind of
world and then sort of like unroot them
from their tradition it's sort of just
like re reframed in a way that makes
sense to me and that's like more
accessible to me faster
yeah I like this thing of breaking up
something into a fragment and then you
kind of like you have it recur but each
time it sort of like the story sort of
like unfolds a bit more that's quite a
nice way of building
continuity I'm really into really really
tight synchronization between whatever's
going on so like the piano in this case
and the cello electronics and yeah
interesting ways of making Unison
between those those sounds I'd always
start with the piano basically like this
first
gesture finding finding like a a nice
way to kind of harmonize it with the
cello with like pits and then like a
slide
down and then the same with the
electronics as well like having like a
bunch of beeps and sort of like clicks
and
pops so together it sounds like
this I like how on it own none of those
things sounds particularly that
interesting but like together it
suddenly kind of like has this boldness
and kind of striking sound which is what
I mean by like interesting ways of
making Unison yeah I like this thing of
breaking up something into a fragment
and then you kind of like you have it
recur but each time it sort of like the
story sort of like unfolds a bit more
that's quite a nice way of building
continuity if you have like little
Snippets of
something I think that Japanese side of
my identity has always been a bit weird
for me because I guess at one point when
I was three I was able to speak Japanese
and then I think kind of growing up I
went through that process that maybe a
lot of mixed race people have is you
don't want to like stick out in school
so you kind of suppressed that that side
of yourself and then it was only until
University where I started to kind of
accept that side and be more interested
in it and sort of like want to explore
it getting into traditional Japanese art
forms like gagaku
and no
theater and trying to incorporate that
into my music in a way that felt subtle
and not like I never want to foreground
it in a way that's so explicit that you
have to kind of like you're performing
that side of your identity and like when
I sing in Japanese a lot of it I know it
doesn't really make sense but that's
because my my understanding of Japanese
is so fragmented that it's not really
logical it's like fragments of language
like swirling around in my head like
things that my mom used to say to me
almost like samples of language that
have just like broken free and they're
just like swirling in my
head so cold yeah I like this thing of
breaking up something into a fragment
and then you kind of like you have it
recur but each time it's sort of like
the story sort of like unfolds a bit
more that's quite a nice way of building
continuity if you have like little
Snippets of something thing and it kind
of comes back but each time it sort of
like reveals the story a little bit more
I like that
Bitcoin yeah I'm I'm I'm telling you the
the price of Bitcoin is going to be
going up up up up
up listen to me stop interrupting me
oh my God stop interrupting
me I'm trying to talk to you right now
yeah I'm telling you
man just listen Jen
let me just end with a little story I
invited Ben here to my studio and we had
such a fun day now my original idea was
for us both to create a little piece
which included some splice sounds I was
kind of hoping I'd learn a new composing
technique unfortunately mine didn't
really go well enough to show publicly
but we even ended the day with one of my
favorite things to do which I hardly
ever get to do which is what you might
call an experim experimental music jam
I've seriously thought about trying to
get an experimental Jam day going in
London like just a bunch of people with
no agenda other than to make some weird
music
together maybe we'll do that one day
we'll see anyway it was a fun day but as
I look back on the footage now I'm not
sure how great a video that would have
made by itself because I'm frankly not
the greatest interviewer I felt like I
got on well with Ben but you know I
mumbled I talked about myself quite a
lot probably my biggest hangup is is I
enjoyed it but I didn't maybe coax quite
as much out of Ben as I should have now
I decided beforehand that I wanted to
compensate Ben for his time so we'd
agreed a reasonable fee for the day and
that fee is only really possible because
of the people on patreon who support the
channel more and more I've decided to
use those funds to directly invest back
into the channel in various ways which I
hope make the videos noticeably better
now in this case you could probably
argue that this is just very good
publicity for Ben and there's no need to
pay him but I did feel feel like it was
the right thing to do and after the day
Ben offered to develop the piece that
we' started on the day and also talk
about what he'd done on camera and that
piece Bitcoin dream and the footage he
recorded forms 90% of this video and I
think however generous Ben is and he is
very generous I think maybe that payment
just guilt tripped him into feeling the
need to put in a bit of extra effort as
he did and make an entire brand new
piece and even record himself and the
wonderful chist you saw Mickey pis he
didn't have to do all that and just
maybe the payment tipped the balance to
make him think about it more seriously
so definitely a huge thank you to Ben
but also a huge thank you to all my
supporters on patreon and I hope this
gives you an example of how you're
helping to make these videos so much
better and one final reminder if you'd
like to meet up with me and have a free
composing Workshop I'm offering five
spots in the end of March and the
deadline is the 15th of February so send
in a score and something about yourself
the full details or on my community tab
thanks so much for watching and I'll see
you next
time
bruuuuu Bruce
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