ELWOOD HERRING'S MUSIC CATALOGUE

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EXPLORING NEW DIRECTIONS AND NEW POSSIBILITIES IN MUSIC COMPOSITION.
LOTS OF DIFFERENT STYLES AND APPROACHES, EVERY PIECE A MUSICAL EXPLORATION. GIVE YOUR EARS A TREAT!
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Play Size Mins Symphony #5 "Interface Reconnected" op.53 (2005) - A Rock Symphony
All the music written for my band "Interface" in 1984, reworked, rearranged and re-recorded in 2005

I have been considering classing this work as a symphony for a while. It's certainly complex enough to have the status of a symphony; it has movements (ok just two, but that's not so unusual. I cite Mahler's 8th as a precedent), it has thematic development, it has various moods, it has counterpoint, and it includes orchestral instruments (mainly at the end). It also has a drum kit and a strong beat, but who says a symphony can't have those too?
I finally came to the conclusion that if Glenn Branca can call his massed guitar noodlings "symphonies" then I can certainly do the same with this! So that's the end of that. This is now officially my 5th symphony, and if anybody disagrees, I don't give a monkey's. If you prefer listening to Glenn Branca's monotonous twangings, that's your choice.
(Dedicated to all those sarcastic critics who said I can't write a good tune!)

November Odyssey
November
Autopilot
Midnight Expression
Childhood's End
Roadrunner
Eruption
November reprise 175k 27:45 This starts off with the first half of November which bowls along at a cracking pace for about 6 minutes (including a jerky 7/16 section with a complex percussion part), then comes to an abrupt halt on a leading cadence. The pace then slows down for some extracts from my Concentric Circles music, including a poignant reworking of one of my favourite tunes; Childhood's End (NOT the Pink Floyd one; it's my own tune!) accompanied by soft seashore sound effects. The pace quickens again for the disco-like Roadrunner section with its pyrotechnic synthesiser solos, which segues smoothly into Eruption then back to November for an upbeat and nicely rounded finale.

The Ultimate Marathon
Marathon
One More Lie
Marathon 2nd lap
Who Needs Friends
Phrygian Cadenza
November again
Marathon final lap 165k 24:50 The second half blasts off with the strident fanfares from the opening of Marathon which belts along at a breathless pace. After a while the music slows down and takes a breather with the "So where are you now?" section of the original song. Then the insistent fanfares signal a return to the race, but now a tone higher in pitch. Round we go again, then suddenly we find ourselves in the song One More Lie with its Ultravox-like overtones and searching schizophrenic bass. After a dramatic climax we are back in the Marathon again for another lap (do you have laps in marathons?) After a frantic synth solo and another change of key we race headlong into another Interface song; this time it's Who Needs Friends with its sarcastic stabbing chords, and even a quote from Berlioz's March to the Scaffold to emphasise the point. Then with a short percussion solo the tone lightens a bit as we whoosh into the eastern-sounding Phrygian Cadenza (a.k.a. Up the Khyber) with some rather exotic harmonies. This in turn is loudly interrupted by the 7/16 section of November which we last heard at the start of the Odyssey (track 1). The music then switches time signatures like a train going "over the points", first to 15/16 then 6/16 and finally back to 4/4 for a fiendishly difficult piano cadenza that brings a lot of the past themes together in a complex interwoven counterpoint; then there is a sudden slowing of pace with a brief wistful reprise of the opening theme from the 1st movement, then an eerie counterpoint comprising three more previous themes woven together. This dies away to nothing, and the music flexes its muscles to begin the final ecstatic spurt to the finish line. The instruments by now are all orchestral, and the coda (a combination of the Midnight and Marathon themes) is accompanied by peals of tubular bells.

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	*Play*	*Size*	*Mins*	Symphony #5 "Interface Reconnected" op.53 (2005) - A Rock Symphony All the music written for my band "Interface" in 1984, reworked, rearranged and re-recorded in 2005
				I have been considering classing this work as a symphony for a while. It's certainly complex enough to have the status of a symphony; it has movements (ok just two, but that's not so unusual. I cite Mahler's 8th as a precedent), it has thematic development, it has various moods, it has counterpoint, and it includes orchestral instruments (mainly at the end). It also has a drum kit and a strong beat, but who says a symphony can't have those too? I finally came to the conclusion that if Glenn Branca can call his massed guitar noodlings "symphonies" then I can certainly do the same with this! So that's the end of that. This is now officially my 5th symphony, and if anybody disagrees, I don't give a monkey's. If you prefer listening to Glenn Branca's monotonous twangings, that's your choice. (Dedicated to all those sarcastic critics who said I can't write a good tune!)
November Odyssey November Autopilot Midnight Expression Childhood's End Roadrunner Eruption November reprise		175k	27:45	This starts off with the first half of November which bowls along at a cracking pace for about 6 minutes (including a jerky 7/16 section with a complex percussion part), then comes to an abrupt halt on a leading cadence. The pace then slows down for some extracts from my Concentric Circles music, including a poignant reworking of one of my favourite tunes; Childhood's End (NOT the Pink Floyd one; it's my own tune!) accompanied by soft seashore sound effects. The pace quickens again for the disco-like Roadrunner section with its pyrotechnic synthesiser solos, which segues smoothly into Eruption then back to November for an upbeat and nicely rounded finale.
The Ultimate Marathon Marathon One More Lie Marathon 2nd lap Who Needs Friends Phrygian Cadenza November again Marathon final lap		165k	24:50	The second half blasts off with the strident fanfares from the opening of Marathon which belts along at a breathless pace. After a while the music slows down and takes a breather with the "So where are you now?" section of the original song. Then the insistent fanfares signal a return to the race, but now a tone higher in pitch. Round we go again, then suddenly we find ourselves in the song One More Lie with its Ultravox-like overtones and searching schizophrenic bass. After a dramatic climax we are back in the Marathon again for another lap (do you have laps in marathons?) After a frantic synth solo and another change of key we race headlong into another Interface song; this time it's Who Needs Friends with its sarcastic stabbing chords, and even a quote from Berlioz's March to the Scaffold to emphasise the point. Then with a short percussion solo the tone lightens a bit as we whoosh into the eastern-sounding Phrygian Cadenza (a.k.a. Up the Khyber) with some rather exotic harmonies. This in turn is loudly interrupted by the 7/16 section of November which we last heard at the start of the Odyssey (track 1). The music then switches time signatures like a train going "over the points", first to 15/16 then 6/16 and finally back to 4/4 for a fiendishly difficult piano cadenza that brings a lot of the past themes together in a complex interwoven counterpoint; then there is a sudden slowing of pace with a brief wistful reprise of the opening theme from the 1st movement, then an eerie counterpoint comprising three more previous themes woven together. This dies away to nothing, and the music flexes its muscles to begin the final ecstatic spurt to the finish line. The instruments by now are all orchestral, and the coda (a combination of the Midnight and Marathon themes) is accompanied by peals of tubular bells.