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fishyfry last won the day on March 26

fishyfry had the most liked content!

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About fishyfry

  • Rank
    Advanced Composer

Profile Information

  • Biography
    I'm a senior in high school. I've been "composing" in some sense for several years, but I only recently started seriously working on my music. There's nothing I love more that composing, and I hope to have the good luck to do it professionally in the future.
  • Gender
  • Location
  • Occupation
    High School Student
  • Interests
    Tea, dark chocolate, reading, good tv, and music, of course.
  • Favorite Composers
    Beethoven, Stravinsky, Debussy, Mahler, Bach, Prokofiev, Chopin, Haydn, Bernstein
  • My Compositional Styles
    Mostly neo-romantic with some impressionist influences, although I am currently trying out many different styles of composition.
  • Notation Software/Sequencers
  • Instruments Played
    Horn, Piano, Guitar

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  1. Very cool. There's not much I can say except I love blues and you've got a great little riff here. Do post the full set of variations when they're finished. That's an interesting assignment and it'd be neat to see how you approach those different techniques.
  2. Very nice! I'm sure it must be pretty difficult to write for this strange ensemble, especially in this classical sort of idiom where any particularly dark unpleasant noises are very undesirable. I feel like you did a fine job. At no point did the choice of ensemble cause anything awkward or distracting to happen in the music. The music itself was all really beautiful and great classical-style writing, I thought.
  3. Pretty neat. Some of the voicing is a little awkward, but I suppose that's not your fault. I could see a program like that being useful if you could quickly transcribe the harmony is generates and make adjustments to the places that are a little rough.
  4. 202.mp3 This is my belated writing assignment for the Theory 202 Masterclass. Apologies for the lateness of my submission.
  5. Great work! It all has a certain eastern or ancient feel to me. From what I've heard it seems like your orchestral music has a very cinematic style. I hope your performance goes well! Can you explain the meaning of the title? Hilariously, I tried googling it but a made a spelling error and was led to a whole lot of links for what I'll politely call erotic art.
  6. First of all, the instrumentation is a little bit strange. I can't think of any orchestral scores that feature the alto sax, but no oboe or bassoon. I would definitely encourage you to include these instruments as you develop the piece further, as they can be really beautiful and useful. There's also no double bass part, but I assume you just intend for the basses to double the cello at the octaves. I also have a couple of questions related to the score, because transferring the midi to my notation program has left me a little confused. My program labeled the clarinet part "Bass Clarinet, Bb Clarinet" and has interpreted it as a clarinet, but because of the range and lack of any other clarinet part, I am assuming that it's intended to be a regular Bb. Am I correct? The last percussion part is labeled "Piano, Percussion". Is this supposed to be a piano or another chromatic percussion instrument? The orchestration is not bad as far as I can tell, although it is somewhat difficult to make a judgement since very few dynamics carry over in the midi. Make sure you are aware of the balance between brass and woodwinds/strings since brass can become overpowering pretty quickly. I would generally advise against having so many long passages of all the brass playing at one time. It can become tiring pretty quickly, and having passages devoted to only a few members of the orchestra can help give more diverse colors to the piece, and give you a ground level of sound from which to build on. You did this in one particular passage (m. 5-12) by stripping it back to only the strings, but with the tuba doubling the bass line. I don't think I would use that doubling there as it is very easy for the tuba to overpower the lower strings, but that may be the effect you're going for. If you just wanted to strengthen the bass line without drowning out the string sound, a bassoon doubling would be a safer option. One more little nitpick: I don't think the pickup note in measure 12 leading up to the tutti works as a staccato. It feels like it should be leaning into the next beat, but cutting it short sort of defeats its purpose. Anyways, this is generally pretty good, and I think as you keep working on it, you'll find it gets better and better. This reminds me a lot of my own earliest attempts at orchestral writing, so I hope that maybe sharing a little of what I've learned since then will help you out. Cheers!
  7. I loved it. This is a great contrast to the first movement. I'm sure using such an unusual form is not easy, but I think you handled all the different themes in a way that felt organic. And yes, the Symphonies of Wind Instruments is a masterpiece
  8. Hmm... I assume you were somewhat setting out to do something like a contemporary equivalent to Mozart's Variations on "Ah, vous dirai-je Maman". I actually quite like it too. It goes into some pretty dark places to be based on a nursery rhyme. It could even be expanded into a full set of variations, I think, if you ever wanted to do such a thing. I have to say, if you set out to write a piece everyday, and this is one of the "dumb" results, then that is something to be proud of.
  9. Interesting. I have a thing for these sort of primitive sounding synths. I can't help wondering if Zappa ever made similar Stravinsky transcriptions on his Synclavier.
  10. Very nice! I think this piece really nicely shows the contrast between the oppressive heat and the relative freedom that usually come with summer. I really like the way you use some syncopations in the main theme. It has a nice offbeat sort of effect that got my attention. Here in the American South, I can certainly relate to the dizzying heats you and Luis describe.
  11. Awesome work! I like that you essentially use the preparations to create a diverse rhythm section inside the piano. I hadn't expected anything so groovy, and I really enjoyed it. Could you tell me where you got the prepared samples?
  12. Good work! You used the instrumentation very well and created quite a few different textures that I thought were very effective. I was surprised by the relative elegance with which you used the glockenspiel-esque synth patch. When I read that you included a synth, I was expecting it to be overbearing, but I think you found a good balance, so congratulations on that. A couple of criticisms: I think the piece could use a little more harmonic direction in the main section. The left hand of the piano seems to repeat an Alberti bass on the same chord for quite a long time, and I think it needs a little more variation. At 3:20, I think I hear a very quick figuration for violin pizzicato. I can't say for sure, but I get an instinctive feeling that that would be murder for the player unless it was constructed very carefully.
  13. Fantastic piece! The last half especially impressed me. I have not had many opportunities to hear orchestral music with these kind of Middle Eastern influences, but I always find those particular rhythms and scales really compelling. I have to congratulate you on working in some great percussion parts, especially for the toms, since it is seemingly still not standard for them to get as much attention as melodic instruments in the orchestra.
  14. @ChristianPerrotta Thanks so much! I'm really flattered you like my little piece. Hope your master's continues to go well!
  15. Wow, I couldn't agree more with Adrian! I didn't even know the accordion was capable of some of these colors. The contrast between the rich, warm sound I normally associate with the instrument and the colder, darker effects you achieve with it is really amazing to me. Sometimes it is almost like string accompaniment. The solo writing for the bassoon is tremendous too, and I bet it's fun to play for a skilled musician. As a little aside, I believe there is an error in m. 272. The score has a half note Db, but on the recording the bassoonist plays the tritone multiphonic on E as in the following measure.