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  1. Today
  2. Very nice! I'm sure it must be pretty difficult to write for this strange ensemble, especially in this classical sort of idiom where any particularly dark unpleasant noises are very undesirable. I feel like you did a fine job. At no point did the choice of ensemble cause anything awkward or distracting to happen in the music. The music itself was all really beautiful and great classical-style writing, I thought.
  3. last movement of my sonatina for trumpet and piano.
  4. Yesterday
  5. Coming on the heels of my first soliloquy for trumpet, my "Soliloquy for Trumpet No. 2", the idea for which preceded its composition, is an attempt to depict the last trumpet the Bible tells us will sound at the second coming of Christ as described in verses such as the following: "... for the trumpet shall sound and the dead shall be raised incorruptible and we shall all be changed." 1 Corinthians 15:52 (see also 1 Thessalonians 4:16). I don't know how far this piece has succeeded to approximate that trumpet's true sound, music, and of course, its powerful impact. Only God knows - and our imaginations can imagine and judge!
  6. Generally, nice. A couple sour notes, like the minor third in your restatement of the main melody at m. 17. m. 11's M7 was also a bit weird, that was my only issue with your saturation. The techniques were used quite well. I think you captured the idea of direct modulation the best. Experiment with phrase modulations if you have time since they sound so random and energetic when used correctly. Cheers!
  7. This one's nice, thematic, and moves in its own progression. The lack of a counter motif was delightfully unnecessary. I personally hear this is melody to a scherzo for piano and trumpet though. It seems kind of lonely. However, I would highly recommend you look into rest beaming to make this performance better, or change some of your 16th notes to 8th notes with staccatissimo markings. It's just kind of hard to read. Cheers!
  8. Thank you for posting! I like how you use the characteristics of the bass clarinet. The music is nice too. I enjoyed it!
  9. Thanks. I'll fix that enharmonic note...
  10. I had somehow avoided composing for the trumpet for many years, perhaps because my first composition for it, back in 1997, although perhaps unrealistically difficult for actual performance, I regarded as maybe my best composition, and perhaps with a supernaturalistic fear, I avoided to compose for trumpet for fear that I might not succeed to reproduce the same quality! However, after I composed my previous sententiae for trumpet and piano (posted here two days ago), it seems my inspiration to compose for trumpet was stimulated, and so I composed my first soliloquy for trumpet which I post now, as well as a second soliloquy for trumpet (hopefully to be posted soon). I think/hope that nearly two decades later, I have succeeded to recapture something of the same high quality but with much less difficulty and more playability in this long-awaited sequel to my first trumpet piece!
  11. m. 36 - Ebb to D? It's generally very nice, but I call to question your calling of the 7th "mode". Especially in your instances of its truncated uses, it seems as though you don't intend to stay faithful to the one rule... Regardless, it's nice to listen to. Good job.
  12. This is a mixture of tonal music and Messiaen mode 7 with additions on my own. NOCTURNO copia - SCORE.pdf
  13. Trio in B-flat for Viola, Violoncello, and Contrabass I. Allegro spiritoso II. Adagio e sostenuto III. Menuetto: Allegro IV. Allegretto Composed: February 22 - May 26, 2014 Style: Classical, circa 1790 Though conceived as a mere amusement, this work ended up being for me an intensive study on how to handle a group of low-register instruments effectively in a chamber ensemble. Works for this very unusual instrumentation are exceedingly rare, as one may imagine, probably because of the challenges I faced in writing my own piece. Achieving clarity in an ensemble with so much bass sonority was rather difficult, but I believe I achieved it to some degree. Fortunately the players for whom I was writing it made the job easier. This trio was originally written for myself, a friend (an excellent ‘cellist), and my ex-boyfriend (a fine bassist) to play just for fun. This is one of several chamber works featuring the contrabass that I wrote with my ex-boyfriend in mind, and I learnt a lot about the capabilities of the instrument from writing them (I had never been much interested in the contrabass in chamber ensembles before I met him, but listening to him practice difficult passage work I would never have thought possible on the instrument fascinated me, besides which, affection prompts us do things we wouldn’t otherwise have the inclination to do). Both of the other players are better technicians than I am, so I was able to write parts for them that were somewhat demanding. The viola part I wrote for myself was also challenging for me, but carefully within my skillset, so all the parts are fairly equal. Description: The first movement (Allegro spiritoso), in Sonata-Allegro form, opens with a bold, vigourous 4-measure theme for all the instruments in unison, sweetened by a more lyrical melody in the ‘cello before being repeated. A transitional section follows, featuring the contrabass in sweeping scales and arpeggios, which modulates to the dominant of the dominant key, C major; the second theme, somewhat unusually, begins in C, with the ‘cello and ‘bass harmonizing in 10ths, and makes its way to the dominant key of F a few measures later. After a short codetta, the exposition is repeated, with the main theme slightly altered here and there. The development treats snippets of the main theme contrapuntally before modulating back to the tonic key for recapitulation. The second movement (Adagio e sostenuto), in binary form, is in the subdominant key of E-flat, and begins with a simple but expressive theme, which gives way to a transitional section led by the ‘cello. A more rhapsodic second theme follows with the viola and ‘cello harmonizing in 3rds and 6ths, accompanied by the ‘bass. The A and B themes are repeated, all in the tonic key, and coda based on the A theme closes the movement. The third movement (Allegro) is a Menuetto based on a 5-note motive that is repeated and developed throughout the main section of the movement. The contrasting Trio section, in the movement’s dominant key of F, is based on a sprightly theme characterized by leaps of 5ths and 6ths up and down. The main section is then repeated (Da Capo). The fourth and final movement (Allegretto), in Rondo form, begins with a somewhat droll “A” theme, which is then developed during a transitional section. Just when one expects the “B” theme to enter, a short fugato on a new subject is introduced, which leads into the actual “B” theme in the dominant key of F - humourous, and characterized by accented syncopations and sudden changes of dynamic. After a brief codetta, the “A” theme returns abbreviated, followed by a lyrical “C” theme. The “A” theme returns again, followed by yet another short but different fugato on the same subject as before, and the “B” theme returns in the tonic key. A variation of the “A” theme returns a final time, and a humourous and spirited coda ends the movement. This work was premiered in July 2014 by the ensemble for which it was written, at a cojffeehouse in Wichita, Kansas (where I was living at the time) which often features live music of all sorts, and was warmly received by the audience of patrons sipping coffee or having breakfast. Alas, the nature of the venue precluded a live recording being made - there was a fair amount of background noise as beverages and food were being served. Inasmuch as I have heard this work performed effectively, and I know it works, I have few concerns, but I am open to suggestions, comments, and criticisms as always. Players’ and Audience Comments: The players enjoyed playing the piece, and when I suggested a performance as part of the ‘cellist’s regular solo set at the coffeehouse, all were in agreement. The bassist, himself a fine composer as well as a university music theory teacher, was somewhat critical of the ‘bass accompaniment of the second theme in the slow movement because it didn’t seem like a characteristic period bass line, but that was the only criticism I received. The audience members made few comments other than to congratulate me. To my surprise, no one seemed even vaguely bemused by my choice of instrumentation, which I took as further evidence that I had made it work effectively. I did receive one criticism from a friend who frankly told me he hated the piece, saying that it was devoid of any treble sonorities and far too dark to be pleasant, but his was the only such comment. I hope you enjoy this rather unusual work! Cheers!
  14. Very nice indeed! I too am hearing an Eastern flavour, and a cinematic style. Love the lush orchestration. The faster section is nothing if not exciting! Then followed by the slower, dramatic section - very effective. I didn't find the cadenza out of place, but the character and harmonic language of it was so much different than what went before that it felt somewhat inconsistent, but that would be my only quibble. Congratulations on a great piece!
  15. Last week
  16. It's cool. I expected more variation from the beginning. It's all one chord... Gm7b9... I just wanted a little more variation there. The second section of synthesized sounds was nice. I like the hints of tonality amongst the clear lack of traditional tonality. The third section I didn't entirely get, as there wasn't a really pattern of your shifting chords as far as I could see. It was almost multi-tonical, but not quite. When the polyrhythm was introduced, it was balanced out a little more nicely. It was also a bit of an abrupt ending... kind of lacked the integrity of the section before it, in my opinion. Overall, nice job. Explorations into this stuff are warranted with tonal mixtures. :)
  17. Agreed. A lot of it bents on the fact that the chords needs to be built off a chord tone right off the bat, when that's not entirely true. If there's a way to modify it, I'd look into it. What's with the excess music you have after the recording ends? Your analyses are also weird sometimes. The harmonic rhythm can vary a little more than what you have written to match the flat 5's a little more, in my opinion. Nice work.
  18. Pretty neat. Some of the voicing is a little awkward, but I suppose that's not your fault. I could see a program like that being useful if you could quickly transcribe the harmony is generates and make adjustments to the places that are a little rough.
  19. Hey It's been awhile since I posted music on here. i've been obsessed with the electronic 'genre' as of late. so.... Here's something I hope you find interesting
  20. Wow, that's really cool. I'm moved by that insight, @luderart, thanks for sharing that. Gustav Johnson
  21. Here's a song I wrote for my uncle. He's an excellent surfer. I admire him and wanted to write a song about him, so I did. This is done with Supersax voicing. It's a matrix of applying harmony. It's like a geometric thing that supports itself. idk.
  22. 202.mp3 This is my belated writing assignment for the Theory 202 Masterclass. Apologies for the lateness of my submission.
  23. Definitely good comments from @Monarcheon about the development of your piece. I'm going to focus mostly on notation because I don't have anything to say that hasn't been said! - About the harp, notating it on two staves will help. The bottom staff should be left hand and the upper staff should be right hand, like a piano. You'll need to change the bottom staff to treble clef for most of it. - bar 1, why have a blank bar? Were you planning to use it? If not, cut it out. If you want a pause of silence before you begin, just notate that in with instructions rather than an empty bar. - bar 2 & 3, why write it in 8/4? 4/4 would accomplish the same thing and would probably be more effective for the conductor/composer. As a general idea, keep things consistent whenever you can, don't change without reason and make sure that reason is clear to the performers. - bar 13 & 14, the piano part is funky. Change the voice or stem direction so the notes and flags don't crash! Also make sure your "objects" aren't colliding in general, there are some dynamic markings and such that collide with each other and with the notes. - Measure 26, be aware of the inconsistent fermattas and the measure of rest in the cello. Check for consistency of writing. The details can be tedious, but keep plugging away at it each time you write and pretty soon these things will become natural good habits for you! Keep writing! Gustav Johnson
  24. I like the color, it's a good soundscape. I'd challenge you to find ways to develop this further in terms of harmony and counterpoint, to really mash things up. Go big! There are a few moments when things take me places and I enjoy it, and then there are moments when it falters. Even in the still moments need a sense of purpose and direction. Good writing! Gustav Johnson
  25. Thank you! I am very pleased that you like the Suite!
  26. Technically, I say nothing. I love this Suite. It sounds contemporary and quite beautiful. Every part has its own distinct motives (melodic and rhythmic). Nice harmonies, too.
  27. Thank you, I really appreciate it and will apply the things you've mentioned to my songs. :)
  28. Well then, you appear to be a minimalist in the best sense of the term. I think there are a lot of instrumentalists who would like to see more music like this, so you're probably on the right track, and you do it well. By the way, I noticed that you're from Lebanon! My ex-husband was born and raised in Beirut, and left during the great civil war to go to college in the United States. After he got his green card, we were able to visit Lebanon twice, and I loved it. It still has its challenges, but it's such a beautiful country, and the people are so friendly. I hope to visit again someday.
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