Monarcheon

Reviewers
  • Content count

    752
  • Joined

  • Last visited

  • Days Won

    49

Monarcheon last won the day on February 26

Monarcheon had the most liked content!

Community Reputation

154 Excellent

About Monarcheon

  • Rank
    Seasoned Composer
  • Birthday June 16

Contact Methods

  • Website URL
    http://blairenzmusic.webnode.com

Profile Information

  • Biography
    All in the "About Me" section!
  • Gender
    Female
  • Location
    USA
  • Occupation
    Arranger, Composer, Teacher
  • Interests
    Cooking, Music, Drama
  • Favorite Composers
    Shostakovich, Reich, Tchaikovsky, Gershwin, Ravel
  • My Compositional Styles
    Impressionistic, Romantic, Aleatoric
  • Notation Software/Sequencers
    Finale 2014, Logic Pro X
  • Instruments Played
    Cello, Piano, Violin, Percussion, Conductor

Recent Profile Visitors

3,687 profile views
  1. My, how you've grown since you first posted here. In this piece, you're delving headfirst into the very complex realm of counterpoint. You might want to look into how this is more effectively executed, along with orchestration tips involving timbre and partials, since it's a pretty big part of making all your different lines seem focused into one category, rather than having multiple lines for seemingly no reason. It got a bit tiresome having each transitional section be marked by a suspended cymbal roll. What this does, also, is limit the audience's feeling of there being a climax, since it tricks the brain into thinking it's always happening. You don't need an instrumental staple to keep a piece interesting. It's like any drug... don't overindulge or the highs become less potent. Having the melodic line end on the soft 5th of a chord needs to be worked in better, especially with such a harsh timbre at the bottom of the violin.
  2. Forgive me, but I'm not really sure what genre this is trying to be. The parts with illuminated chords were quite nice, but all of the contrapuntal or flowing stuff was riddled with atonalities or dissonances and I'm not sure if they were intended or not. I'm pretty sure it's not strictly baroque, since parallel fifths are pretty common, and the non harmonic tones don't line up (what makes them sound wrong, by the way, is how brief they are in a given instance, which you might want to look at regardless). Regardless of the stylistic differences, the thing I would look for is places with crossed voices, since it obscures the polyphony and Klangfarbenmelodie you have established in some places. Food for thought. Cheers!
  3. For "not knowing what you're doing", you've produced something quite admirable! There are a couple things here and there that produce audible issues. Measure 12, for example, has the crossed voice in the two sopranos, which sounds awkward. Measure 23, has no third in the second chord, and things like that. Something I saw quite often were clusters that don't resolve correctly, like measure 3; maybe go through and find these. I would be careful about how the piano interacts with the voice. Does it double? Play pedal ostinatos? Create dissonance? I hear it's supposed to be thematic, but I don't really get a sense of how or why. It's our job to make that clear, yeah? It's pretty good; maybe just a couple things to touch up. :) Cheers!
  4. In light of our "future of music" thread, I thought I'd post this. I'm going to say nothing about it.
  5. In the pieces you were trying to emulate an earlier style, there were more problems with non harmonic tones. Like in measure 3 of the Capriccio... A-flat vs. A in the second beat. The intro, then piece thing was a little bit cliche, especially in a dominant key. Overall, very good works. With more time, I may delve into more specifics.
  6. Definitely heard the John Williams ;) You hold up a lot of old style while introducing the new parallel rules, which is fun to hear! Using an augmented V half-diminished to go to a flat tonic is a pretty cool effect you use in here. Sometimes I feel like focusing on the 2nd and 4th beats was taken a little too overboard, especially when you highlight it with cymbals. Their spectral envelopes are really huge at their peak, so it dominates, but not as a surprise. Space Battle is very short for a space battle? The climax of one, yes. I get it could be a continuation of what comes before, but it the way it's presented it very quickly loses the tension of the arc. The ending also seemed pretty out of character... tacked on at the end. Very good writing though! Was a pleasure to listen to.
  7. Fair enough, just making sure! I thought you might say that, as I don't think I really used the best word. It just doesn't quite feel to me that they're part of the piece at hand, therefore not really contributing to the conflict. That's just me though. For me I would make it a bit more explicit and responsive/reactionary, rather than so apart as two voices. Does that make sense?
  8. I. The Klangfarbenmelodie is good, but I really didn't like the stops, personally. I don't think you needed them to really send a message about interjections. The connected Klangfarbenmelodie at the end is pretty cooperative for the theme, don't you think? It's practically tonal. II. Lovely use of sustained tones atop a fast ostinato. I feel like the clarinet gets a lot more prominence here, though. Long slurs in the viola are definitely possible, but I'd probably split them, especially one with hairpins. III. Didn't like this one so much. Obviously very obstinate, but the polyphony above it seemed almost disjunct. Rather than having them compete, they seem like they're in their own world... I suppose I simply didn't get the impression of much musical translation. However, on the whole, very good writing, with good ranges and performance articulation (always important). Great source material!
  9. I will return as a judge for this competition. I hope we can get some more people signing up to compete! I know the deadline is soon, but a huge orchestral work definitely isn't necessary!
  10. It's clever the use of broken octaves to be a heartbeat, compared to Stauss's "Death and Transfiguration" with constant syncopation, at least that's how I interpreted it. There are a lot of clever chord progressions thrown about in here, which I really appreciate. However, I would suggest adding more of an arc with the music. It dynamically remains at about the same level and the texture stays about the same throughout the entire piece. And I understand how ostinato is a good way to convey your message, but I think it can really go places, since you have such a great template here. Cheers!
  11. 0:00 - end: Way too much use of the tonic pedal. 0:18 and 0:24 - minor second in the minor dominant chord. 0:43 - ii˚ chord clashing with non-harmonic tones. (F vs. F# vs. E) 1:55 - subdominant does not go with both the i and VII chords. You build up and drop off too often in this. Not saying it needs to be a straight linear progression, but it needs to feel cohesive. It felt like a lot of ideas squished together. I get it's supposed to be minimalistic, but like @LostSamurai said, it needs to be varied in chords more, since the cinematic aspects aren't really brought out enough in my opinion. Good luck; good work for a first attempt.
  12. Really lovely ending to this song! I get this is mostly about color, but I was expecting a place with wider range for texture and volume as a kind of textural climax, and I see your forte sections as a means to that end, but it's a bit of a limited range, in my opinion. But that's possibly a personal thing only. Very good writing!
  13. It's good. I wish the loud parts stayed louder a little longer and the softer parts not as ubiquitous. Something I notice is the very separated tessituras between voices sometimes, which I get is to make it stand out more, but sometimes I don't think it needs to be, even if it's holding one note (which in and of itself is something to avoid), and if it's separated by the high and mid-low voices. Other than that, it holds its themes and motifs quite well, though maybe some different takes on the idea could have been used to vary it up a little more. Cheers!
  14. classical

    Some problems with counterpoints, specifically passing tones in the bass. They make the melody seem atonal when it's not. The section with an A minor bass and something modal in the soprano (tonic E or B) I can tell is supposed to be a contrast. Maybe even a low point. But other than the notes, I wasn't really given a big impression on that. Dynamics or tempo can really bring that out. You have some classically sparse textures which is nice, but it's a bit too consistent, in my opinion. Perhaps making some variation in that can make this feel more like a progression through scenes, etc. Good work so far, cheers!
  15. I agree with the previous comments regarding spacing. This needs to be addressed if it's to be performed by one player, which it seems it is, as it is scored for electric piano. While sometimes it was an attempt to use a 7th chord and other times I wasn't really sure, there were sometimes where a 9th or a 2nd would incorrectly sound together, normally at transition points. It's up to you if you want to structure non-harmonic tones like that; I can see how it is justified. Overall, it's really quite nice. Cheers!