Monarcheon

Reviewers
  • Content count

    850
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Monarcheon last won the day on March 23

Monarcheon had the most liked content!

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179 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

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  1. Mostly the false relations. Since I can see the broader tonal patterns, it might behoove you to make that more clear.
  2. I saw the contour of the line and treated it as kind of a rhythmic and tonal cascade. Hopefully didn't throw you off too much! Hm... perhaps marking it with legato or pseudo markings would make that a bit more clear. When I see that, I have the mindset of making as big a change to highlight the difference.
  3. Hey so this piece is really dumb but I really like it for some reason. Enjoy!
  4. I'm pretty sure you weren't trying to follow baroque rule writing, so I won't harp on that. However, given that, I think you could have branched out into less homophonous writing. I think what you have here is fine (emphasis on think) but believe you should introduce some polyphony or canonical writing to add some intrigue. Nice!
  5. Happy you liked it! :) I actually wasn't allowed to use pitched percussion beyond timpani so I had to make do.
  6. I can't compete with @Gustav Johnson's knowledge of the instrument, but I can offer my musings that perhaps the phrases where a bit too similar every time to feel like so much a progression as you wanted. Dynamics can help with this, but adding an off measure where everything connects can make the phrase seem a lot smoother! Overall, nice piece.
  7. yes.mp3 Here we go!
  8. Having a couple issues with compiling everything together, so we hope to get scores out at the very least by the weekend.
  9. Awesome! My main critique isn't even musical, it's just engraving-based. Aside from some obvious issues (eight notes (quavers) and quarter notes (crochet) oftentimes cross each other a little too much on different layers), sometimes this looks like a three staff piece to me, other times I think some choices to make the rests seem congruent to one layer might be necessary. Some fixes, such as having your 3 sixteenth note figure turn into 2 sixteenths and an eighth, might work for example, though I don't know if you want to change that. Musically, it sounds almost like a more fluid Boulez, and other than maybe cautioning about enharmonics every so often, I think it sounds good.
  10. I really want to do that, but the audio rendition will never do that, so I'm typically discouraged from actually doing it. :( I'm glad you liked it!
  11. Hi Adrian, Can you attach a timpani part to this thread? Just for my purposes. Thanks!
  12. Sometimes your harmonic language is really strange, like when you add diminished fifths to go to a bvii chord but never actually deliver on it or transition in/out of it properly. Combine this with awkward cadences (I think I heard one that cut to Eb for some reason) and it's a little too dense for me to really hear what's going on or your intentions of the piece. It flows nicely through these, though, which is good! It's just kind of weird how it does it.
  13. Clarinet fingerings are fine. Cello going up there with the triplets might be a little stressful, but I haven't seen anything that would make it unplayable. I do, however, kind of mirror Luis's opinions... it feels quite episodic, and I think you should expand these sections, since it's very good potential for a decently long suite. I felt that as soon as it was going somewhere it kind of dropped off into something else which was somewhat uncomfortable.
  14. Nice solos! Pretty good transcriptions too. I would just not write them on piano, and instead, for sax, considering the transpositions and whatnot. The third one got a little bit out there for me in terms of where it led to with altered tones, but they're still nice, regardless.
  15. :( :( :( I hope it comes out okay in the end, Austenite!