Ben Lieberman MUSIC 111 Peter Janson October 21, 2021 Music Hunt C The composition of In C is one of the most peculiar pieces I have been introduced to. David Bruce presents a compelling case for the merits of the piece, the capacity for a song to be so accessible to musicians and the combinations of sounds that could be obtained with it appears limitless. I find the concept of variable timing in this song to be interesting, as shown by Bruce when he presented one pattern in the song in twos while another was in threes. Depending on the intensity of the instrument, we might find our attention to be drawn towards a particular pattern being played. I have never used this idea in music I have produced, yet it has crossed my mind a few times to make my arrangements more unique. I feel the most noteworthy aspect of In C is its accessibility. The markedly simple, repeatable patterns can be performed by practically anybody, which can spark a deeper interest in music if the musician seems to enjoy what they play and the synergy of it in relation to every other pattern. Yet I dislike In C greatly, mainly for what the piece sounds like. On paper, there are numerous intriguing compositional concepts at play that would lead you to believe there is more complexity to the sound. However, with every example I heard in the video it sounds messy and lacking an identity; the idea of patterns coming into play whenever a musician finds it appropriate is disorganizing, as though a band class is going through their warmups and tuning their instruments. My thoughts are important about this because the idea that most musicians can play In C lends the idea that everyone’s input delivers purpose to the song. Music is a collaborative effort in most circumstances and the opinions of those involved no matter how big or small can create a significant impact.
