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Connor_Helms last won the day on February 13 2013

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About Connor_Helms

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  1. Ha it's all good @Adrian Quince. The lack of development was purposeful to make the aural experience more accessible to non-musicians since it was already a C pandiatonic palette. Instead of changing much of the notes and rhythms themselves (though this constantly does happen in the harp throughout, particularly in the figurations of mvmt I, and in II, as well as in the vioolin 1 part of mvmt 3, and in the extended techniques in the strings in mvmt II and to an extent mvmt I), I decided to drive down an entirely different avenue of develpment technique and style. The motives, germs, themes, figures etc are convertibly counterpointed with each other at different spots and in different ways (especially the main motif of movement III, though the extent and development of the convertible counterpoint is in itself minimal and bare, undeveloped and perhaps undexplored so as not to meander). Alson all the chittara pizz are extremely easily playable. Perhaps you are talking of the KB, in which case its scordatura EACF throughout in case you missed it, so thats literally just strumming all 4 open strings lol... That said, all critiques of my piece were definitely spot on regardless of aestethic sensibilities and differences of me or the judges, big ups to everyone for taking the time to critique as that's the only way we get better (whether individually or communally). Admittedly I have not really looked at the other pieces beyond a mere skim. Been busy with orchestration and copyist work lately in addition to my day job as a cook, so I will definitely check into the others' pieces real soon now that the dust of the competition is settled. To be honest, I actually finished and posted up this piece on the internet before I even saw the YC Winter 17 competition, but I realized my piece would sorta work for this. The 2 page program notes were already there obviously, and I figured I would get docked on the narrative part (both the story and it's realization in the music) because of this after-the-fact semi-fit. Perhaps I will participate more in these now. Cheers to everyone. PS for anyone wanting to learn more about the nature of Sacred Geometry on which this piece is based (the only time people do Sacred Geometry in music is the tired old Fibonacci sequence), look up Scott Onstott and Randall Carlson.
  2. Thanks guys, it couldve easily been needlessly dissonant with the sets, but I felt the piece would be more compelling aurally if the sets wete based on c major. Making something exciting yet playable, particularly for harp was really the hard part of this work. I wanted to evoke genetic memories of the deep past, premonitions of the future, and tinglings of other worlds and dimensions; the unknown.
  3. Second (story in the program notes, it's a bit of an abstract story dealing more with architectural pieces than characters):
  4. Silver Embers of Boleskine Manor.mp3 View the score and all parts: It also received the 15 second harp treatment, proving the feasability of the quadruple simultaneous slide technique: I'm not really sure how to describe this piece beyond it being like a pandiatonic to C major set theory and generative process compostion, so there's that. I will also copy past the program notes: Boleskine 57.2653° N, 4.4747° W Stonehenge 51.1789° N, 1.8262° W Pyramid 29.9792° N, 31.1342° E Use Stonehenge Longitude west as a scale degree pattern, as well as the pyramid longitude and the Boleskine longitude. In C: Longitude Motifs: Boleskine: FFBFB Stonehenge: CcDAD Pyramid: ECCEFD Binumeral Motifs: Boleskine: 44 47 74 FF FB BF Stonehenge 18, 26, 62, 82 Cc, DA, AD, cD Pyramid: 31, 11, 13, 34, 42 EC, CC, CE, EF, FD Harp can enharmonic the pyramid 3113 E/Fb, C/B# And Boleskine 47 F/E#, B/Cb The strings are perfect for Stonehenge. Scordatura KB can be pyramid to emphasize that bassy Earthiness EACF instead of EADG 9 108 12 36 72 144 666 Moon diameter:distance=1:108 Sun distance to diameter 1:108 Various gematria: 47, 74 Peace 23.5+23.5=47, mvmt I m. 47 has a pedal slide in the harp to signify the Earth's tilt. 66.66 nautical miles is 123454.32 meters. In mvmt I m 66 violin 2 plays a run of cdefgfed to represent this. 44 Baalbeck Baalbeck is where the temple of Bacchus is. This temple has dimensions of 66x31x35 meters! 66 and 66 The perimeter is 202m. 202 gematria leads to the great pyramid and the golden ratio. 4747 leads to '13.56 mhz applied to water vapor'. Found a study of a device with a 13.56mhz power supply, that used plasma to extract hydrogen from water vapor. Plasma generators are upcoming 'free' energy devices, many seem to be using 13.56mhz from the ISM rf standards. Perhaps the pyramids are plasma generators Earth's orbital velocity 66,648mph 4 (tetrahedron) x12 (dodecahedron) =48 4+8=12. 12 apostles. A dodecahedron is 12 pentagrammic or pentagonal faces, pentagon, 5. Plato said the universe is a dodecahedron, which is found to explain the particularities of the cosmic microwave background. 666:108 time, tempo, beats, bars etc 666-108=558 666+108=774 66+108=174 108-66=42 Silver Atomic mass 108 Atomic number 47 Crystal structure is cubic Cubes have 12 faces, 6 sides, 8 vertices Total angle degrees 2160 216/2=108 KB and Harp represent the pyramids Strings represent Stonehenge Tutti Represent Boleskine 3 mvmts I. 66 bars II. 31 bars III. 35 bars Architecture of the first mvmt is a binary of 35 and 31 bars. 24 bar base with 11 or 7 bars of development, 11+7 is 18, 1+8 is 9. So write out a 24 bar base, then you can vary it in each binary section later, and then insert development episodes, cadenza, and prologue bars ad lib to reach 11 and 7. Architecture of mvmt II. Beat patterns follow the cube. Also, every 24 beats (8 bars) a 'sam' cycle of polyrhythms. 12 beat pattern in harp (4 bars in 3/4x2=8bar) 6 beat in kb (2 bar in 3/4x4=8bars) 8 beat in strings 2 2/3 bars (3x=8bars) They align at 24, 48, and 72, and 144 beats 31 bars in 3/4 is 93 beats, so the biggest possible alignment is the 72 beats, which is 24 bars basis, 8bar theme x3 occurrences with variation in each (sort of like theme and variations form). Architecture of third movement is cube+9. 12+6+8+9=35 bars Ratio of bars to minutes/time/length of piece 1 132 bars ----- ------------ 108 14256/144=99 99 is the simple gematria for new moon (silver/108 also represents the full moon), 594 is the english gematria. 594 seconds is 9.9 min, total length of the piece I. 4/4, 66.6 bpm 66mm 237 sec II. 3/4, 36 bpm 31mm 155 sec Which leaves 202 sec to reach 594 so III. 5/4 51.75bpm 35mm 202 sec 202 is temple of bacchus perimeter 66+66+35+35=202meters Temple of Bacchus represents Helios(sun god) or Jupiter depending on which culture was using it at the time. Ratio of Jupiter's distance from sun compared to earth's to sun is 5:1. 108(lunar)x5(solar and jovian) is 540:1. 540 is a pentagon, which is the shape that represents homo sapiens. The latitude of Stonehenge is 51. The Pyramid is angled at 51 degrees. 5-1 V-I G-C pretty much doesn't occur in this piece, really only the harp ever plays a G and even then it's orchestrated under the rug. Mostly you just get the resonance of G from the G's on the harp in sympathetic resonance with the rest of what is happening in the piece, and overtones. Thus through omission and undermining, the omnipotent and grand significance of 51 is in a way all throughout any given moment of time in this piece. It cannot quite be heard or seen, but simultaneously it is in a way always there, everywhere, flowing throughout.
  5. Ha ok, will rescind that other post then, ty for the heads up.
  6. Interested, count me in
  7. ctrl shift down worked perfectly in sibelius 7, thanks!
  8. In sibelius how would one do this?
  9. I've to object to one of the guidelines. Almost no western composers have good enough orchestration skills compared to Asians writing for say, Pro Musica Nipponia, Aura-J, Orchestra Asia, CCNA, Hsin-Music Orchestra, the CMSNA orchestra, or the ASEAN-Korea orchestra when it comes to really using the instruments....the idea of non-fusion and using an instrument precisely FOR it's weaknesses. So I take it someone throwing in very high and shrill oboe with a very high and shrill piccolo with a low violin will be downvoted?
  10. check dis out, this person played one of my pieces, both works are from the same composer Wil Smith: (crushed is the tune) and here's one of his for the upright bass, 'heavy beating' played by eleonore oppenheim (who has also played a piece of mine): I would give this a shot, but I'm rather busy with my own endeavors at the moment. Hope to hear or at least see the score of some really interesting pieces as a result of this call for scores!