About my scores

About my scores As you can see, I make the scores available for some tracks. These partitions are voluntarily simplified. They are made after recording, and are intended for study and not for public execution. The rhythm is just suggested, and not exactly described, as in the medieval scores from which I am directly inspired. You will find an excess number of notes in certain parts: they come from the fact that they are played on the same keyboard, with a distribution between for example female and male choirs which overlap. The important thing is to understand the spirit of this music, moving, and irreducible to a too traditional notation. I invite everyone, if the heart tells you so, from the text to interpret and recreate the music, not play it without warmth and soul. I’m a composer, not a graphic designer. The truth of my music lies in the open interpretation and original sound recording, not in its codified and imperfect representation. My scores are always transcriptions. At first was the sound, not the sign. The rhythmic signatures (generally 4/4) and the time bars are only there as temporal markers: don’t mark the highlights! However, the music can normally be played when the score has been generated by the composer Wout Bremer’s Youcompose software. The others are transcripts created in Apple Logic Pro. In all cases, listen carefully to the original recording with the score in hand before playing it in turn.   Au sujet de mes partitions Comme vous pouvez le constater, je mets à disposition pour certains morceaux les partitions. Ces partitions sont volontairement simplifiées. Elles...

Messes

All scores and files ©2018 Alain Jamot Messe de Saint-Georges/score Messe de Sainte Jeanne d’Arc Messe de...

Eight artificial pieces in memoriam Pierre Barbaud

AJ080 Eight artificial pieces in memoriam Pierre Barbaud LP, modern-classical/experimental, 2018 1Requiem for a french algorithmic composer 00:00 2 Fandango cybernétique 06:17 3 Suite n°1 11:08 4 Don d’organ 18:18 5 Suite n°2 21:34 6 Piano-Biniou 28:04 7 Monsieur de Barbaud 31:20 8 Requiem for Pierre B. 34:47 This album is an amused tribute to Pierre Barbaud, one of the inventors of computer music (then called algorithmic music, or artificial music), a solitary and somewhat misanthropic composer, whose approach, humor and erudition have always fascinated me. One of Barbaud’s goals was to completely rely on a program to write music. The composer’s job was only to select in this production what was worth it, and what was going to the bin. Xenakis (Barbaud’s great rival) will have the same vision when he describes the composer as the captain of a spaceship navigating in the infinite universe of sounds. Requiem for a french algorithmic composer: the computer has fully calculated all arrangements, I have only provided  the theme. Fandango cybernétique: Max improvises (with some instructions from me) a long atonal song for string ensemble. Suite n°1: the computer wrote everything, theme, variations and arrangement, without my intervention. Don d’organ (for organ): theme by me, arrangement by computer. Suite n°2: the computer wrote everything, theme, variations and arrangement, without my intervention. Piano-biniou: the Max software improvises (with some instructions from me) an atonal piece for piano. Monsieur de Barbaud: neo-baroque piece for harpsichord, me theme, computer arrangement. Requiem for Pierre B.: cover of the first track, this time for string orchestra, and it’s a hit! Version originale: Cet album est un hommage...