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Ken320 last won the day on February 14

Ken320 had the most liked content!

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About Ken320

  • Rank
    Seasoned Composer

Profile Information

  • 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. Yes, each movement was unique thematically, which is what I would expect for a suite. I enjoyed it and listened to it twice. It has a pensive quality due to the numerous starts and stops. You may have overdone this a bit, I think. I would have preferred more of an arc to each movement,the endings being a bit sudden. here's the thing about calling a work "Seasons" or something more programmatic than No. 1, No. 2, etc., which is totally fine for a suite. The title seems arbitrary because in the work itself, there is nothing special to suggest a specific season. And that's because you didn't give the listener enough musical cliches to connect his or her experiences with seasons. I understand that many composers find cliches trite. But used correctly they are useful for programmatic music.
  2. I wish I could, it's a worthy challenge. But I have to keep my focus and stay motivated on what I'm doing now, and I never seem to learn (I get so easily distracted). Maybe I could help judge.
  3. It will be interesting to hear how people incorporate the idiomatic parts of the piano - the repeated notes and such - as integral to their orchestra, or to what extent they will be dismissed as unnecessary.
  4. Fair enough, I'll give you my honest opinion. It's not very good and that's why I suggested that you post something newer. If you don't have anything newer then that suggests something else, like maybe music isn't your thing. You've got a good chord progression to start with I-VI-IV-V, but it never develops in order to produce an interest in the listener, which is really your only job when it comes to writing songs. The melody is more or less all over the place, almost as if any old note will do. Ask yourself this: Can you sing your melody? Can you remember it? Are you taking piano lessons? If not, you should. Even if you are doubtful of your goals or talent, you owe it to yourself to hook up with a teacher. If nothing else it will be fun. If not, maybe music is not for you. Maybe you just need direction. Please don't take this personally, I say the same thing to everyone. Find a teacher! And best of luck to you.
  5. It's OK. Given the simple chord progression you need to do more in terms of dynamics and mix of the instruments to make it more interesting. Though it has a certain Mystery Science Theater 3000 charm about it.
  6. Well, if you posted this several years ago and never got any feedback I would suggest writing something new.
  7. You must be giddy with joy on hearing your music performed as it should with real singers. Good for you! I heard a slight flirtation with Shenandoah in the melody... (not that there's anything wrong with that). Very nice.
  8. I was having trouble visualizing a timpani as Michael desired, but you made it all work, Blaire! Great job. Thank you, luderart : Having some decisions made for you generally makes things easier. I enjoyed writing this because it was one of the quickest and least fussed over things I've done. As for timing, composers have, for generations, counted BPM for timing/tempo, and relied on conductors to make music fit to other media. Now, of course, their is software to help with this.
  9. He tried to trick you but you saw right through his poker face.
  10. It's really fine music. And I was thinking the same thing about program notes. It always seems a little phony when a composer steps out of his element to give meaning to something that already has meaning. Whatever you do don't write "diversity is our strength." Better yet, have someone else write it and sign it, someone with credibility in your circle. As long as it's complimentary it doesn't matter what he or she says, because it's their opinion, not yours.
  11. Yes, you succeeded very well! It's a beautiful piece. The cadence at bar 18 killed me. And there was much more of this sort of surprising stuff throughout. Did you succeed in capturing the mood of the poem? Absolutely. The meaning? That's dubious, really, because your interpretation of the meaning as 'strength in diversity' is not what I thought at all. Strength In Diversity is a modern political slogan, and as all political slogans go it is to some degree deceptive - by design. I regarded the poem on a higher, more pure level, almost celestial in its purity. In any case, it won't matter what meaning you or I attribute to the poem. The listener will appreciate that the beautiful music caught the mood very well. That's about all we can hope for.
  12. You're being kind. I had a proper transcription that made an attempt at realism, but it just wasn't good enough. So if you can't be real, be unreal, right? About Zappa, that's a good question. I have a feeling he didn't do transcriptions, because they are time consuming and he probably just wanted to do his own stuff. I did it as an exercise. It's a good way to learn a piece in the most intimate way possible.
  13. 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?
  14. 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.
  15. Musical non-sequiturs