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Monarcheon last won the day on April 27

Monarcheon had the most liked content!

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196 Excellent

About Monarcheon

  • Rank
    Seasoned Composer
  • Birthday June 16

Contact Methods

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Profile Information

  • Biography
    All in the "About Me" section!
  • Gender
  • Location
  • 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

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  1. I hope you know those low F#'s aren't going to sound nearly as clear as it does on this recording. That's really pushing the player. I'm not really sure I understand this one as much. It meanders a lot when I wished it stayed on a course throughout, even if there were changes. I think this may just be due to the slow tempo though. I just didn't really feel the effect you were going for this time. Cheers----
  2. Generally, nice. A couple sour notes, like the minor third in your restatement of the main melody at m. 17. m. 11's M7 was also a bit weird, that was my only issue with your saturation. The techniques were used quite well. I think you captured the idea of direct modulation the best. Experiment with phrase modulations if you have time since they sound so random and energetic when used correctly. Cheers!
  3. This one's nice, thematic, and moves in its own progression. The lack of a counter motif was delightfully unnecessary. I personally hear this is melody to a scherzo for piano and trumpet though. It seems kind of lonely. However, I would highly recommend you look into rest beaming to make this performance better, or change some of your 16th notes to 8th notes with staccatissimo markings. It's just kind of hard to read. Cheers!
  4. m. 36 - Ebb to D? It's generally very nice, but I call to question your calling of the 7th "mode". Especially in your instances of its truncated uses, it seems as though you don't intend to stay faithful to the one rule... Regardless, it's nice to listen to. Good job.
  5. It's cool. I expected more variation from the beginning. It's all one chord... Gm7b9... I just wanted a little more variation there. The second section of synthesized sounds was nice. I like the hints of tonality amongst the clear lack of traditional tonality. The third section I didn't entirely get, as there wasn't a really pattern of your shifting chords as far as I could see. It was almost multi-tonical, but not quite. When the polyrhythm was introduced, it was balanced out a little more nicely. It was also a bit of an abrupt ending... kind of lacked the integrity of the section before it, in my opinion. Overall, nice job. Explorations into this stuff are warranted with tonal mixtures. :)
  6. Agreed. A lot of it bents on the fact that the chords needs to be built off a chord tone right off the bat, when that's not entirely true. If there's a way to modify it, I'd look into it. What's with the excess music you have after the recording ends? Your analyses are also weird sometimes. The harmonic rhythm can vary a little more than what you have written to match the flat 5's a little more, in my opinion. Nice work.
  7. It's nice. It's cool how the atmosphere remains even with different sections in it. It's a little lonely sounding to have the first violin play along with rhythms for so long. I get that it's probably intentional, but it stood out to me. I'm curious as to why you put grace note pizzicatos in a section that's so quick too. It certainly doesn't sound as if it were performed as written. But you know what you're doing. Great job!
  8. Your harp player is going to have gripes. Normally the distance between one finger in a moving line to the next is a fourth maximum. The pedal work is sometimes awkward especially when you're trying to modulate... there's no real chromatic function that's easy to get to from a diatonic place on the harp. I do somewhat question your starting off with a measure of silence, especially when it's gone and done so quickly, but it's not like it's that unusual. I just found it weird since it's over so fast. I don't think you really used you bass or your viola? Why are they there? Just in case you want to add something later? I don't know musescore well so I don't know how hard it is to add instruments. I think you take away from the energy of the moving line a little bit and the overall phrase when you don't let an instrument finish the phrase or line you've been working on, i.e. violin at m. 12 or cello at m. 18. This technique is really good when there's a dropoff you intentionally want to create, but I don't get the impression you want to do this most of the time. I think you should take advantage of the ensemble a little bit more too. It's kind of sparse, especially in the big parts too which is a bit strange. You can add subtleties without changing the mood of the section, but I understand if you wanted something different... a lot of it felt uneasy to me. It's a good draft. I think transition work would really help it along.
  9. 1. Really disjointed sounding, at least to me. And I know it's supposed to be pointalistic but it suffered from a lack of coherency from what I heard. Yes, I hear the main motive repeated but I struggle to find one all-encompassing motivic style. Some of the notes mesh poorly in the vertical sense (mm. 8, 9) and overall it just didn't really speak to me. 2. The motivic line and the ripieno line really don't match to me. I know that it's repeated, but that doesn't inherently justify its use. There are more places where the vertical chords don't really blend as well. I would have personally used the rhythm of the last measure as the main motif, since it fits better with the time signature and progresses with chords rather than separate, polymodal lines. 3. This one was more enjoyable. My only real complaint is that you seem to have a strange disconnect between the tonic and dominant chords in the first system of music. This one flows a lot better than the other two though. I agree that the trumpeter should have acknowledged the work, at the very least. There's elitism, then there's being stuck up. I'm sorry you had to deal with that. Cheers---
  10. Your french horn player is going to have a word with you, haha. That goes pretty high up. The section at 1:13 was a really harsh dropoff from the energy of the previous section; the transitions could be better. Though I will say that the 1:13 was quite nice, the ending was really unsatisfactory for me... ending on a tonic C with no bass support or timbral percussion. It felt like you didn't really know how to end the cyclical chord progression. When you use repeated phrase segments sometimes it gets out of hand. For example, at around 1:03 you have this figure in the piano that only melds with some of the chords you place underneath it... the Em7 chord doesn't really fit the bill well for the ostinato. I just want more from it. The length is okay, I suppose, but I don't get the sense that a lot of the chord or phrase choices were done with a lot of vertical conviction as much as the horizontal. If it's the first thing you've written, color me impressed, since you have an idea as to what your final project to be. You know what you want each instrument or section to do, but the chordal execution is suffered. I think it's a great draft, especially the second major section, but I guess I was looking for different things.
  11. Nice, though some of the left hand inversions in the main canon I thought sounded a little bit weaker in terms of voice leading. I think there might be some issues with pedals in the modulatory parts, since when the one closest to the player is pressed, the other one has to be released for some notes to remain. I'm not entirely sure though... Cheers--
  12. Really beautiful. Probably one of my favorite things on this site. Some rhythms didn't really seem to match the score, but I get that this is supposed to sound a little improvisatory in its execution, so I can understand that. When you resolve to a single augmented 4th tritone, I always feel like something is missing in there... Thing about beaming... you're gonna want to have your left and right hand beat beaming match up a little bit more, though there's nothing technically wrong with how it's written now. I just found it a little confusing at times. Again, great work.
  13. Places like m. 15 where you jump up to a dissonance after a resolving tone. It's not wrong, just sounds off the first time through. It would be fine if you didn't have the A-flats in the second to last measure. The plagal cadence means you have to actually end on on the IV chord first before you can resolve. I can see from the score why you might think you did that, but it doesn't come out harmonically as well.
  14. Lovely. You should be proud of this. Even my typical disinterest for this genre of music succumbed to the interest you put in here. I do kind of agree with your concern about the first movement. The melodic motive doesn't need to change necessarily, but it should lead to something new or end on a different sort of cadence sometimes. However, in the development it might be nice to have a sort of contrasting theme, be it entirely new or polyphonically related. I also found some issue with the development's chords, especially when the neighboring tones didn't line up like in m. 70, for example. The only kind of not-worth-mentioning issue with the fugue is the clashes created by your held tones. Normally this would be frowned upon and normally require figured bass to back the composer's reasoning, but most people probably wouldn't be able to tell. My main concern with the movement was the end. You set up V/IV chord with the last few bars and resolve to I?? It just sounded awkward to me. Again, great work, overall.
  15. Do you have a score for this? The wind timbres are kind of hard to hear. From what I here, it's pretty well done, but I know I heard a couple weird chords I can't quite pin down accurately. Isn't the major scale so nice to write in? Hope to hear back from you.