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    1. Announcements and Technical Problems

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  2. Upload Your Compositions for Analysis or Feedback

    1. Orchestral and Large Ensemble

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    2. Chamber Music

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    3. Choral, Vocal

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    4. Piano Music, Solo Keyboard

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    5. Incidental Music and Soundtracks

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    6. Jazz, Band, Pop, Rock

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    7. Electronic

      Upload music which makes use of electronic resources

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    8. Incomplete Works; Writer's Block and Suggestions

      Works here must be attached using the forum's attachment method. Incomplete works will not be categorized in the network.

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  3. Competitions and Collaboration

    1. Competitions and Challenges

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    2. Competitions

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  4. Technological

    1. Finale and Sibelius Help Desk

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    2. Software and Hardware

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    3. Sound Libraries

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  • Works With Few Reviews

  • Posts

    • Soliloquy for Piano No. 9
      This is my 9th soliloquy for piano. The first 12 bars constitute a sonata beginning/fragment I had composed years ago. So this piece felt kind of like the YC challenges where we composed based on each others' themes, only in this case I composed a piece based on a theme from my 19 years younger self! Here is the link to my 8th soliloquy for piano: http://www.youngcomposers.com/archive/music/listen/6667/soliloquy-for-piano-no-8/
    • Air for Soprano & Piano - Sleep, my child
      Thanks for the input! I simply prefer the garritan strings to the garritan piano; in an actual performance, the real piano (or harpsichord, as you said -- maybe with lute stop :P) would be great. I hadn't thought about that sudden jump in bar 62! I'll have to adjust that. Thanks!
    • The motorist (silent movie)
      You really have the talent to compose film music. It's great! At first I thought the YouTube video's music wasn't yours but yours was written as an alternative soundtrack to the film. Then I read your name at the end of the video. I guess writing music for film would be pretty difficult. Bravo.  
    • Soliloquy for Clarinet No. 17
      I respectfully disagree. The performer can of course add something of his or her own, but speaking purely in compositional terms, there is not much there to work with when compared with anything else that could be given to them. The fragmentary nature of your music (I've listened to quite a few of your pieces) results in these stilted phrases that start and stop constantly. There is no way for a larger arc, a sweeping gesture or a long lyrical theme to emerge. This is largely due to the copy paste repetitions of the rhythms,as well as ending each phrase on a strong beat and a tonic or other strong note. This results in music that only gives to me a banal and maybe silly, comedic character. The performance isn't a mystical magical thing that can salvage any situation. 

      Certainly composers have their individual voices and with those they can please only a certain audience, I agree. But an individual voice and works of genius never come from a position of naivety. Individual voices are developed, learned and built upon existing music. If you just start composing without cultural musical context and knowledge, you'll end up on forms and patterns that have been thought of thousands of times before. 
    • Soliloquy for Clarinet No. 17
      It is true that in many of my pieces, especially the soliloquies, I tend to repeat the same rhythm a lot of times. That seems to be a characteristic of me as a composer, especially in my soliloquies. You can't vary everything. You can't satisfy everyone. You can't be perfect. If you do so (or even try to do so), you will have nothing to distinguish yourself with, you will have no character as a composer. I have been told of this issue before and have even been given the same challenge. In fact, my first soliloquy for viola was composed in response to that very challenge. In it I never repeat the same rhythm. However, the issue of repeating the same rhythm does not seem to me as necessarily a weakness to be overcome, but rather as a characteristic of, especially, many of my soliloquies (and in particular those written for monodic instruments) that I have accepted and have no problem with. I think that the actual performance of the pieces will remedy the perception of such a piece - as this one - as formulaically repeating the same rhythm. I am of the opinion that a great interpretation will even make the audience not notice the repetition of the rhythm (or focus on it) but rather leave the impression of it as an integral and inevitable part of the music.
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