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    6. Advice and Techniques

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    2. Monthly Competitions

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  • Works With Few Reviews

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  • Posts

    • Nice Peter! I like the original too @gaspard, is there actually an early music video game in the works? Cuz i'd be very interested in that 馃憖
    • Hey @Layne! Very tense track/cue you've concocted!  I noticed that you're using col legno/with the wood of the bow in the melody of the strings.  I could be wrong, but it doesn't sound practical/idiomatic for the strings to bounce the wood of their bows off their strings as quickly as you require them to in the melody here.  The col legno technique, if I understand correctly, is quite an unwieldy technique on the Violin and is difficult to execute with metronomic precision which is why you'll often hear orchestras struggle with staying together when playing col legno rhythms.  But other than that I like the mood/vibe of this piece!  Great job and thanks for sharing!
    • Hi @guy500! Your music is very chromatic and richly tonal!  It visits so many different key centers that they're difficult to count.  Unfortunately, it's because of this that giving you advice about your score would be very difficult, as the constant changes in key make your chromaticism difficult to navigate.  It's hard to give the proper enharmonic spellings of notes specific and unique to each given harmonic situation when the whole system is flawed in the first place.  For example, if your tonal center is C# (as in measure 110) then you should use sharps instead of flats to express all your scale degrees (such as the Eb in measure 110 - should be D#).  If you're in C# minor then this is easier, with only 4 sharps in the key signature (C#, D#, F# and G#), but if you're in the major mode there's 3 more sharps (E#, A# and B#) which is also why your F in measure 111 should be an E#.  This is just a small taste of the meticulousness that it would take to clean up your score and make it readable by an actual choir. Another musical quirk you seem to have (or perhaps it's a result of working in a DAW/Cubase) is that your phrases are rarely connected and song-like/lyrical.  They are constantly interrupted by what in my opinion are unnecessary rests that break the flow of the music.  Of course, it would also be unusual if the, on the flip side, the choir sang constantly without any room to breathe. Btw - in order to be able to listen to your music on Soundcloud, I had to go through an annoying process of creating an account, which I never had to do before.  Has Soundcloud recently changed or something?  I think it would be way more convenient if in the future you just uploaded your mp3's here to each post you make.  Thanks for sharing this piece!
    • Hi again @Fugax Contrapunctus! It's quite an interesting idea!  I know you're working with strict tone rows to have produced this, but my ear cries out for some 8th note or 16th note motion in this to relieve from the constant barrage of quarter notes.  I actually like the piano version a bit more than the string quartet because the tempo is a bit slower and allows the ear to absorb the harmonies more.  The ending is also unusual and breaks away from the pattern established in the beginning and is more interesting because of that.  Thanks for sharing!
    • Hey @Fugax Contrapunctus! It's great to hear that some old juvenilia of yours can be rescued from oblivion and made somewhat acceptable after you've now gained some more skill!  In my opinion, it does still lack some space and comes across as somewhat robotic and mechanical with the constant barrage of 16th notes, but I don't think I can say that about your more recent works anymore.  Thanks for sharing this fugue!
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