# Libélula (dragonfly), for electronics.



## Zeus (Jan 6, 2018)

Also a small movement for ensemble, to which I added a video after the fact (meaning, it's not music composed purposefully to be incidental, I just thought it'd be cool to add a video to the music, since the piece is so short):


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## Lilijana (Dec 17, 2019)

Hey thanks for sharing this! I'm listening now and enjoying it a lot. This kind of sounds purely electronic to me, so what do you mean by ensemble? Is it an ensemble of electronic instruments? 

The piece itself is quite fast paced, a lot of sustained and echoey sounds that sift in and out of the texture moving between the foreground and background. I like your attention to textural layering there. 

I think there are some aspects to your use of definite pitch which isn't exactly to my taste, but I do like how you have made that aspect of the piece more background material rather than the piece being driven by melody and harmony in that traditional sense.

This sounds really well made; have you composed many other pieces like it?


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## Zeus (Jan 6, 2018)

composer jess said:


> Hey thanks for sharing this! I'm listening now and enjoying it a lot. This kind of sounds purely electronic to me, so what do you mean by ensemble? Is it an ensemble of electronic instruments?
> 
> The piece itself is quite fast paced, a lot of sustained and echoey sounds that sift in and out of the texture moving between the foreground and background. I like your attention to textural layering there.
> 
> ...


I posted two videos on my post; the ensemble one refers to the second one. The first one is purely electronics, of course.

In regards to texture and definite pitch, well, my work approach to this piece was binary: there's a fragment of music (traditional, diatonic) which I composed before the work, which consists of a lutheran chorale (ABA). At the beginning of the work (minute 1 or so) the A part is heard in the bells, and after another chorale, the B part is heard on a celesta, though much much dimmer, and blurred. I like to dirty the diatonic fragments, maybe add a small copy of them a minor 16th over (minor 2th), or for example major 21th downwards (major 7th). I also apply distortions, retrogradations, inversions and other stuff by electronical means, and then (2nd approach) I achieve the more clearly electronic effects/sounds/drones by taking clusters or stuff like that, and applying modifications.

In my channel, there's another 2 works composed like this, they're called "v Pamyat o Tabor Frikic", and "on the subject of
misery". I also have a "kyrie" for electronics, which was my first electronic work.


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## Lilijana (Dec 17, 2019)

Ah right, I see. Keep up the good work then!


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## adrien (Sep 12, 2016)

I enjoyed this - I especially like that it's not just atmospherics / textural the whole way through but has some distinct melodies in there as well. Could totally see this being used in a film soundtrack. Not sure if that's what you were aiming for though


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## Zeus (Jan 6, 2018)

adrien said:


> I enjoyed this - I especially like that it's not just atmospherics / textural the whole way through but has some distinct melodies in there as well. Could totally see this being used in a film soundtrack. Not sure if that's what you were aiming for though


Thanks! Well I didn't aim for it to be a film soundtrack, but I wouldn't mind it being used for a film, of course.


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