Globally acclaimed by music critics and aficionados alike as a daring, slightly dangerous comment on the highly personal and volatile nature of contemporary musical creation and the level of innovation it may or may not require – this song pushes music theory in ways not yet explored, with its’ double dissonances (that’s 3 adjacent tones sounded together), counterpoint that seems to almost suggest secondary melodies, meticulously detailed chromatic-based motifs, non-diatonic pivot chords, textural semi-scales, and the composers’ sense of cadence that current music theory doesn’t allow for yet, but still sounds balanced.
“Yeah…” remarks the composer, “It was easy to replicate the sound of 17th century Italy. I just had to trace the music back to the beginning of time to get that ‘pure’ sound. Which is what I do with all my work really…” he continues, “For this one I asked myself; where does the D tetra-ninth harmonic Aeolian augmented 4th series C# come from? I meditated, which I’m quite accomplished at doing, and my spirit guide Buddha came to me and told me in his naïve rhetoric, ‘look to the shamans’ – so I then thought, by being quite insightful, which is a process that goes way over your head, trust me it does, that the Gamelonians, from the country of Gama would know the answer. I got in free to one of their sessions and became God, which, I apologize, is yet another concept that you will never grasp – I noticed that the apperiphiziaggiation of notes, (musical tones), was reminiscent of – in order of oldest to newest in history: Iranian call to worship prayer, Bach’s renaissance music, then Aaron Copland’s hoe-down. But you didn’t need to know that last part; I’m just teasing you with big people talk.”
He continues; “”I feel like I’m doing a service to people out there, making music that…people, ya know, will never get.”
I then asked the composer what about new struggling artists? What do you have to say to them? He thought for a while and then said, quite assuredly, “Oh there’s new ones? How cute.”
This self-assured average-joe with a God complex wasn’t going to have the final word. I was determined to smear him. So I decided to end our interview with a quip about how most musicians make more money than him. I asked, “What would you say to Hans Zimmer if he were here right now?” Just then, as if by some hell-spawn chance my phone rang with a rinky-dink techno version of the Pirates Of The Caribbean theme ringtone. Alex looked at me scrutinizingly. I hung my head in resignation and reluctantly took my cue to end the interview there.