Brooklyn Zelenka
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- Skill Level:
- Semi-Pro
- Instruments:
- recorder, flute, alto flute
- Genres:
- disco, classical, acid jazz, modern classical, nu jazz, progressive rock, sonata, progressive electronic, baroque, contemporary, post-romanticism, ambient
- Influences:
- Leonin, Richard Strauss, Brahms, Richard Wagner, Beethoven, Alban Berg, Frank Lewin, Milton Babbitt, Hanson, Gustav Mahler, Stavinsky, Sergei Rachmaninoff, Chopin, Ed Tavner, Markus Schafer, Fage, Benjamin Britten, Jethro Tull, The Bee Gees, Scissor Sisters, Cole Porter, Nina Siimone, Billie Holiday, Uriah Heep, Gentle Giant, Paul Van Dyk, St. Germain, Bob Marley, Aphex Twin
+ Classically educated, largely self-taught... would have been 'university educated', but I escaped in time ;)
+ My personal work is mostly neoromantic as well as some neomodernist, though I do branch out for collaboration
+ "I play the flute.... apparently that is all that we know about me" :P
+ Recently finished a reworked theory of 'atonality' and 'pantonality' that rely primarily on Z-relation, IFUNC, EMB, INJ, parsimoniety, extravagance, and various transformational procedures.
- Day Job:
- Cosmetics Retail Management
- How I Work:
I am very results oriented, however I am also interested in bouncing theoretical ideas off people / being bounced off.
- Payments:
- This user does not accept PayPal for session payment
Bravo!!! The fugue starts out in a traditional Baroque manner, but it soon reveals itself to be a work from the hands of a modern master of the form. The romanticism of the chromatic counterpoint is brilliant and the voice leading is handled with such craftsmanship that it makes the transition from Baroque to Romantic seamless and natural. This kind of treatment is exactly what the art of fugue demands from today's composers and with work like this, it is easy to see that Brookyn B may well lead the way to the next development of this highly addicting style of composition.
Pentametric Time and Prolation is not entirely suitable for Britney Spears...even if she could pronounce it, but it is an engaging, enigmatic piece and quite obvioulsy meant for a virtuoso violinist, such as the one we hear. With this score, Brooklyn throws off the shackles of conformity and reveals a stunning originality and boldness of style.
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OMG--I have the honor of reading through Brooklyn's score for the fugue and it is an amazing piece of music! It is in 4/8 meter and the second entry comes in at the last beat of the second bar--most intriguing. The third entry is a full 5 bars later, with the codetta leading through a deceptive sequence through D, G, B, E(sus4 to Major 3rd), A, and at the last minute, the suggestion of D bass/ B,A leads our ears to a possible tonal response [in fact i wrote a tonal response here and it fit perfectly, making this an ambiguous little change], then resolves itself to an entry at the tonic in the bass. At the end, she casts away the Baroque yoke of tradition by placing the dominant pedal as a brief 2 bars, fully 6 bars before the end and doesn't follow it up with a tonic pedal at all--in fact, she uses a flatted 9th to resolve to the vi to the V 6/4, lightly touches on the IV 6/3, and resolves through suspension to a full cadence.
Sweet. Take THAT Bach!