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fishyfry last won the day on December 23 2016

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

Recent Profile Visitors

1,605 profile views
  1. 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.
  2. 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.
  3. 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.
  4. 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?
  5. 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.
  6. 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.
  7. @ChristianPerrotta Thanks so much! I'm really flattered you like my little piece. Hope your master's continues to go well!
  8. Very interesting and enjoyable listening. I really like the kind of neo-baroque quality of the outer sections, and I particularly admire the contrapuntal skill you show there. Good luck with the rest of your quartet!
  9. 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.
  10. I guess it's at least an interesting experiment in attempting to create the sparsest thing that could be considered music. Without any context, I can't say it does much for me but these techniques could be used effectively in a piece. The subtitle confuses me a little, so I can only assume you mean to imply that this is what the future of music will be after dogs have become sapient and done away with human art and culture.
  11. Personally, I think you can be as negative as you want, under the condition that you're using it constructively, and not just to belittle someone's work. I think that could have been an excellent post, if it read like this: I don't think anybody wants to discourage discussion, but most people are very interested in discouraging pointless and dismissive comments. You've provided other people with actual criticism, so we know you're capable of it. When you haven't got anything useful to say, I think it's best to do what the rest of us do and silently move on to something else.
  12. I think it's lovely. I'm going to assume that some of the parts in the tenor voice are meant to be played in the right hand, although they are notated on the bottom staff (m. 13-14). Personally, I would think that it should either be notated in open score, or with all the right hand parts in the top staff and vice versa. If you intended it to be all in the left hand, I just don't think there's any way. Anyways, the music itself is lovely.
  13. Very cool! Writing for a solo instrument is really difficult for everyone I think, but this is beautiful flute writing. The traditional Japanese scales are some of my favorites to experiment with. I love the Japanese sound and it's really neat to see you working with it as well. Are you familiar with Toru Takemitsu's work? This piece reminds me of him somewhat. Also, what is the significance of the photo on the bottom of the last page?
  14. If I were scoring for a brass quintet I don't think I would write for the trumpets in unison quite so much. Personally, I feel like it sort of under-utilizes the potential of having five voices, and also introduces some intonation problems that would probably not arise at all if it were not in a chamber situation. This is a small thing though and possibly more of a personal preference. I would also like to see some added interest in the bassline, and less repeated 8th notes in general. I just think there are more interesting possibilities for accompanying figures. For the most part I think it's pretty good work. Part-writing is idiomatic, rangewise. Slurs and dynamics would make it more so.
  15. What Ken said. Also, I would really appreciate if the score was laid out a little more cleanly, all dynamics below the staff, no dynamics in crescendo marks etc. Also consider slurs and phrase markings. These are essential in writing for winds, in my opinion. I find the easiest way to approach slur markings is to sing the melody to yourself and figure out where tongueing is most natural. I don't know if you are experienced with wind instruments, but this comes much more easily if you are.