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  • Posts

    • @LostSamurai Yes, I noticed that after I published it to him. He liked it though, so... haha, whatever works? @Luis Hernández that too is correct. My only not very good defense to that is that it wasn't really meant to be played, but even then, I see the necessity. Thank you both for your insight!
    • Thanks for the replies. Monarcheon, thanks for the detailed response and insightful comments. I'm not too familiar with winds (in terms of how they're played) at all so I'm glad to hear there aren't any major breathing problems. Can I ask why winds need a note to finish off on? Apart from the notes you picked out, such as string slurring, was there any problems with the score? Thanks for the reply danishali903. I definitely agree the piano isn't as prominent as most piano concertos. However I did a little research while writing the piece to find out if, for example, a concerto needed a cadenza to be labelled a concerto. I couldn't find anything that set out rules for a concerto, other than the fact that it was originally seen as a battle between the solo instrument and the orchestra. I want to ask then, why you say the piano 'MUST' play more? I'm really not a fan of the word 'must' when it comes to music, suggesting there are rules that can't be broken. Would you say that because most composers use the solo instrument more, I should use it more? Or is it more a fact that it doesn't strike you that the piano is a solo instrument? Do you think it would be more suitable to change it to a symphony or something else? Thanks. Thanks very much for the positive reply, KJ. I haven't normally messed with melodies too much after I've written them, I'll give it a go, cheers.
    • Now that you mention it. When the trumpets come in during Cathedral of the Dark Angel...I had absolutely no idea how I did that at the time but I would like to use that particular part again.
    • Well, don't worry, it's funny. The first one sounds innocently "distonal"?, sometimes,  Not bad, I like it. But there are too many instruments.... They all sound epic, indeed. I don't know if it happens to you, but when I listen to some old stuff of mine sometimes I think: "I could do something with it". But I'm lazy and I prefer to write new things.
    • Sometimes I also take a hearing to some of my first terrible works. Well, my current ones are not wonderful, indeed. This of yours has good moments. The beginning is "big", difficult to supass, but you do. The quiet ending part is also beautiful. I think one of the things that most of us do in the first times as composers is that we try to fill every single second with sound. Learning the meaning of silence or rests is important...
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