Scherzo and Trio

Dear goodness... I'm not going to lie. If this wasn't TOTALLY bad donkey, I would hate it. hahahahahaha.

You're really lucky, cause it is TOTALLY bad donkey.

I'm interested in hearing your organization of non-pitch materials. As well as this: how did you go about conceiving your row? I notice the presence of a fifth in the vector of the 2 example cells: are you going for quasi tonality? I generally like what you have, but would like to hear some more about the process.

Maybe it's the rendering, but some parts of this sounded a bit too too chaotic for me, in the sense that all I could hear was some sort of messy texture. Another extremely minor thing--I would ignore it if there was really anything else bad to say--was pauses between sections. I felt you had one too many of those.

Have I ever said that your style is original? (well, relatively) Because that's what I'm feeling right now. TOTALLY badass.

You already know how I feel about you as a composer, so I will strive to be bit more critical this time about the music here ^_^

First, I second Ian's comment about the overly-messy feel the piece has at times. I think a place which shows that is at measures 29-30, for example -- the strings are just so completely indistinguishable as separate voices, and come across as just screeching a violin randomly. The strings work best when the themes are clearly defined, i.e., measure 66.

Also, at measures 47-48, and about measures 51-54ish, there's this certain "sound" that I hear, that is featured very prominently in several of your compositions I've heard. I don't really know how to describe it -- like octave twiddlings, playing it down a half-tone the next time you state it. Not a bad sound at all, and normally, I would find it nice that you have a certain "sound" that a listener can identify with. But in many ways, I don't think that nice, identifiable sound really works with you as a composer. You're a freaky, dangerous, outside-the-box composer, and this extra dimension is a bit unwelcome, honestly. If you're going to be uninviting, go all the way.

In short, just be careful not to be too "samey", or rely on a certain technique or sound too much. (I know, I know, I've got to work on the same thing myself!)

I think that's about all I have to say, in regards to criticism -- but your music is truly way above my head, in many ways, so it's up to you to decide whether I'm worth listening to or not.

I really enjoyed listening to this piece -- totally awesome stuff!

I partially want to second ellements of all of above posts.

with ian. The texture sounded somewhat messy, and I think there could have been more variety in it. there is a somewhat chordal texture, but the most time it is a multitude of notes that saturates the ears.

with c.ph. I want to hear some of the inner workings. I know you have thought this through really well. I like how you tried to let the row guide your form as well. I like the somewhat tonal sound in it. I really love that. And more in general, I love to see you are developing yourself, and growing as a composer.

Where izz J ohn