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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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    3. Choral, Vocal

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    6. Jazz, Band, Pop, Rock

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    7. Electronic

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    8. Incomplete Works; Writer's Block and Suggestions

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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

    • I don't own the movie and don't feel like watching the whole thing, so I just watched a quick bit of that scene on YouTube.  From the comments there, I want to make sure by asking a question: Is the music Mazurka from Life of a Czar?  It sounds lively, but to my ears, it has a different style from Chopin.  Sorry about that.
    • My favorite is the first movement, which like the others comes across as a more deterministic rubato than rubato. It's relaxed at these tempos and ambiguous, which is very charming I think. But because you have imposed this extra formal procedure on it, I have to re-adjust my reaction to it. Which is pleasant and which I am very happy to do. I would love to hear a wicked up tempo piece from you using these same techniques.
    • Very Nice! I won't comment on the music too much as you admit to it being derivative. I must say that it reminds me of the ballroom scene at the end of Alexander Sokurov's film, Russian Ark, which is itself a derivative waltz in the style of Chopin. See the film and tell me if you agree.
    • Luis: Thanx for responding..  Now I have some else to check out..  I really like your work.. What you are doing is somewhat out of my element.. My brain can't process and play like you do..  It is beautiful, you do so much with one piano  pass..  I greaty admire that.. Yes, the clashes are fine.. I edit my pieces in Logic Pro.. and I find, I can put in all kinds of clashing passing tones, if duration is short, and softer, and in different octave.. but even dissonant notes  side by side can work in one instrument, as long as other instruments are doing something..  But you dancing naked in the moon light here..  You can't hide behind some other instrument. So you have to let the 'movement of the melody' carry one thru the clash..   I have done a few pieces that are in one time signature, yet, I will add one or two instruments in a different time signature.. I love how it opens up the feel of the piece, and kind of creates a a 'timeless quality'. which is very liberating. You did this very well, and simply and then you're dealing with some atonality loosens it up even more..  wow..  I look forward to more.. 
    • Hello Luis!  Since you commented on my pieces, I wanted to return the favor :) I'm no musical expert or critic, so I'm not going to say what should have gone better or be changed in your compositions.  I'll just share my thoughts and say the first piece "It All Comes Back (To You)" was really emotional, and you managed to pull that off with atonality and polyrhythm.  Plus, I'm new to the term "polyrhythm" and your collection really helped me learn about it.  Great job! All of the pieces were great, jazzy, and interesting, and personally "It All Comes Back (To You)" is my favorite.  Can't beat the expression of that one! ;)
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