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Music Appreciation


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Ken320 last won the day on February 14

Ken320 had the most liked content!

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About Ken320

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  • Biography
    I studied music composition formally, as well as in depth study on guitar, piano and percussion. I have played professionally with several ensembles, mostly popular music, in both Chicago and New York. I enjoy performing, recording and writing music, learning new possibilities, keeping up with fantastic new music technologies. I have done extensive work with electronic music, but now I am focusing on more traditional music and the wonders of orchestration.
  • Gender
  • Occupation
    Database Design Consultant, Administrator, Composer
  • Interests
    Composing, exploring abandonned buildings
  • Favorite Composers
    At this point I have no favorites anymore. Although I never tire of baroque and good popular music. I also enjoy many modern film composers, and cinema.
  • My Compositional Styles
    Improvisational, cinematic, experimental, methodical
  • Notation Software/Sequencers
    Sibelius 7, MOTU 9.12
  • Instruments Played
    Piano and Synthesizers

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  1. I have made several transcriptions of Bach and Stravinsky, all electronic and mostly serious. But this one is a little odd. What do you think?
  2. It's a bit like shoving a square peg into a round hole, but it's not without precedent. Stravinsky put 3/4 with 7/8 in the opening bars of Petrushka.
  3. Musical non-sequiturs
  4. I have listened to most of them and I can tell you that you have a firm grasp on the Dramatic and the Grand Gesture. Keep that arrow in your quiver. I think you need to work on writing melodies that people will remember, imo. Only you know where you want to go, but let's say that you want to go anywhere, everywhere. Then you need to work on melody more. You are avoiding diatonic language in favor of minor tinged modality, which pretty much guarantees a half baked melody, a la Batman movies. I understand that this is intentional, and cinematic, and I respect that. But these are only fads, of course. I hope you know that. I think you are doing great. Just keep at it!
  5. Very nice, crisp and clean. Good variety in the instrumentation, sounding effortless. It reminds me here and there of Stravinsky's Pulcinella Suite, which he borrowed from Pergolesi and other Italian composers.
  6. To me it doesn't matter, reading the description of the form, and the minute play by play action in the text. Except for the treatment of rhythm, which is notable. Though I would have noticed it without the text. That's just me. I go by ear and feeling in all cases, even my own stuff. I really don't need it. To me it sounds like Luis Hernandez, and as usual, very engaging music, with many facets to it, always a little different, and nicer for it.
  7. Thank you for sharing this with the forum. I enjoyed the orchestral colors and the long leisurely gestures very much. I found that it has a nice arc with a mood that is confident and honest in its delivery. It is poem-like. It did seem a little short, however, the ending being abrupt. One thing you might try is a simple repeat of the opening material and the lovely clarinet solo. That would give it a sense of symmetry that I noticed was missing, thematically.
  8. I guess I was prepared for your discomfort on the high strings. I have some hearing loss in the upper frequencies and sometimes I over compensate. Many times I ask people, You don't think it's too strident, do you? But those strings are totally synthetic,not sampled, and to get them to sound real you have to fool the ear with a piercing quality. I was trying to replicate Vangelis's Yamaha CS-80 that he used on Bladerunner. Ha! Replicate the synthetic music for a film about Replicants. Thanks for your thoughts. Lius, I guess there are no too many gear heads on this site, but I put it out there in case there are.
  9. This music was made using Granular Synthesis, a technique developed at IRCAM, in Paris. It's a method of manipulating audio samples. You could think of it as a microscope that focuses on minute grains of audio, in this case, trumpets. So the sounds rendered are basically defined by how you move and focus the microscope around in the audio. There are other techniques used here as well, like Sampling, Formant Filtering (for choir sounds), Subtractive Waveform Synthesis and good old fashioned overdubbing. Happy star gazing Images courtesy of
  10. That's a real sweet song and you played it very well. You mentioned the outro, and you eliminated it? You could have played the last three chords in different higher inversions instead. That would have been enough to signal an ending, you know? I would love to hear more of SONGS here at YC, so thanks for sharing this.
  11. Using my imagination to supply breathing, words, consonants, etc. I think it sounds pretty good, and what I hear in terms of dissonance are held tones through which other tones weave through and eventually resolve into a consonance, which to me sounded Lydian in many places. At least there was a consistency throughout to my ears. Maybe too much of a consistency, but it's hard to tell without the subtlety it requires. Thank you for sharing. ** I don't know why bar 79 was written using three back to back dotted eighth notes. It looks confusing, whereas writing it using ties for syncopation would be clearer.
  12. Nice performances, but the best thing these works have going for them is the harmonic language, the shifting modes and tonalities. You always keep it interesting with the pedals vs. the excursions. The first two are as you describe. But the third sounds so much like Satie's Danses de travers, No. 2., mostly the left hand, it seems certain you must have heard it before. In any case the similarity is uncanny. It doesn't bother me if people borrow or steal from other composers, I'm just wondering if you have heard it. @1:50 :
  13. I only thought of one thing. Which would be to open with the waltz, which is a nice waltz ( a little quieter though). Then when the camera pulls back to show the Brother From Hell, suddenly the waltz is given a new depth that might carry it better throughout the film. My back seat driving, of course.
  14. Apparently, they would like us all to be their venture capitalists. I still need to know the answer to my original question ... anyone?
  15. ... and they're not cheap! $300/yr $400/3 yrs Has anyone run Sibelius 7.1 on Mac Sierra? Or anything higher than 10.8? Thanks