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Mun (The Imagination)

Classical/Instrumental • 2007

Mun (The Imagination)

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PDF, 222.9 Kb ID: SM-000220010 Upload date: 22 Jan 2015
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Type of score
For a single performer
Randolf Smeets (The Phlod-Nar)
Mun, meaning The Imagnation, is the first track from the Works for Piano album (2012) by Randolf Smeets.

“Mun (The Imagination)” begins with a quiet ascending eighth note passage interjected with subtle block jazz chords followed by a simplistic single note arpeggiated phrase repetitively rising and falling. A quarter note triplet segues into the next portion of the song where rapid flourishes dance around the keyboard over a chiming pedal tone. Smeets’ playing is not only creative, but deliberate. His improvisations are evidentially well thought out with the time signature and tempo ingrained in his mind, rallentandos included, making his works sound more credible. The latter segment of the piece features a descending quarter note line that is an elongated and reversed version of the opening melodic pattern. - Kelly O'Neil (5 out of 5 stars)

Note from the composer: "The title MUN comes from an Aboriginal language, meaning the imagination. It was written in 2007. At that time, starting in 2005, I was trying to approach music in a different way. I was fed up with the defining and structuring in music in general. Miles Davis, Frank Zappa, Arvo Pärt, John Zorn and many others introduced me to a different kind of music. Music where nothing is prohibited; everything is allowed. Off course ‘everything’ can be too much in one composition. [Listen to my album “The Phlod-Nar: In Eternity” (2010) where many, many ideas are explored. Too many? That’s up to the listener…]. MUN was one of those ideas; to explore many different musical aspects. Like improvisation, repetition, melodic lines, dissonance. On the other hand I wanted to keep it simple. No challenging passages or anything sounding too difficult. Eventually, MUN is also about the intuitive, the emotional, and about thoughtfulness and reflection. On the score it says: ‘All time signatures and tempo indications are relative. Use your imagination’. The same can be expected from the listener."
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