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Maarten Bauer

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Maarten Bauer last won the day on July 18

Maarten Bauer had the most liked content!

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About Maarten Bauer

  • Rank
    Advanced Composer
  • Birthday 05/02/2000

Profile Information

  • Gender
  • Location
    The Netherlands
  • Occupation
  • Interests
    Music, architecture, painting, drawing, language
  • Favorite Composers
    Wagner, Mozart, Beethoven, Debussy (this list changes every day)
  • My Compositional Styles
    Experimental, classical, minimal music
  • Notation Software/Sequencers
  • Instruments Played
    Piano, soprano saxophone and alto saxophone

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  1. Well, welcome back then? I see that you are from the Netherlands! Altijd gezellig.
  2. When you answered the poll question ''I would like to help'' with Yes, do not forget to send me a personal message! I already started to split the tasks with Chopin and Noah Brode.
  3. Hi Noah, It would be great if you could help! I have attached a link in the first post, which leads to the scheme of the magazine for now. Here I have mentioned the topics that came in my mind. (Almost) everything is going to be about music: history, composing, interviewing composers, facts, advertisements, orchestration etc. I can easily add more pages if you would add another specific topic! It costs money to publicate the magazines on paper, but creating an online link is free. It is thus actually possible to share with everybody on this world, except those who do not have internet. Hello Chopin, That is a great idea! I would not mind at all, I even encourage you to do it. There is place enough, since I do not have many advertisements (yet). Do you know if I could include the advertisements from the Advertisement department of this forum in the magazine? Another good idea. I will certainly give you some pages to work on this topic. I think all members of this forum will have fun reading the history of 'us'.
  4. Hello everybody, Would it not be fantastic if Young Composers had its own special Magazine composed by the creative members of the forum? Since a few weeks I have been thinking about this idea. I already made a few magazines with the free program called Jilster ( The advantage of this program is that I (as a chief editor) can give specific pages to other people so that many people can work on one single magazine. The program is very ergonomic: I learned the things I needed to know in one hour of experimenting. Because the idea is still quite vage, I decided to schelude the magazine. This link leads you to the magazine in which you can see the topics I would like to include. Before I begin to write for this magazine, I would like to know if you would appreciate it. Could it be an valuable addition to the forum?I would also like to know if some of you are interested to help me. If you want to write about a topic that is not mentioned in this megazine scheme, do not be disappointed. I can give you several pages on which you can write about what you want. Furthermore, if you are interested send me a private message. I am very enthousiast, but of course we all have to be! Please be honest. Maarten *I know that not everybody has all free time to spend on writing and laying out the articles (including me), so there will not be a deadline. It is something extra and it has no priority.
  5. Very nice! I like the rhythm of the ''beep'' à la telephone, which is a perfect description of the sound, though. Haha! All sounds are very different, but they still blend together in a smooth way. Could you tell us the story behind the music? The title makes me curious! For me the piece does not sound finished yet. Please extend it, although it may be a hard task to not let the audience become bored. Variation is the key; in sound, in rhythm, in orchestration etc. Well done! Maarten
  6. I know this topic is quite old, but I did not have the time to give you useful and meaningful feedback until now. Lovely! The harmonies and melodies are rich and indeed they contain something impressionistic. Just when I got the feeling that the music was too much of the same (until m.16), the more vivid part from m.17 began. You have chosen the perfect moment to introduce a new theme or part. The lively atmosphere is not solely caused by the sixteenth-triplets in the left hand, but also by the more deep bass notes that create a warmer mood opposed to the relatively high notes in the first part. In the second part I have the feeling that you overuse the arpeggios, only a little bit though. Of course these arpeggios are one of the most important motives in this piece, but three consecutive arpeggios is too much for me (!). Nice intermezzo at m.28, which breaks the flow of the second warm part so that you can easily let the first theme come back. To continue you introduce another theme in m.44, but to me it does not really contrast with the preceding first theme, because they both sound in the same register. The just introduced theme rather sounds like a phasing out or extension of the preceding part. I like the last part too where the notes gradually fade out. Very well done! Maarten
  7. No problem! I always find it interesting to review others' works. After having completed the suite, could you please share the entire composition with us? I will then also review that piece. I am looking forward to it! Good luck!
  8. You are welcome! When you have changed or finished the piece, please repost it on the forum or in this topic!
  9. Well done! The piece reminds me of some Bach pieces for Solo Violin. Have you taken works by Bach as an example? It appears to be, but I like how you add a new, fresh touch to the music. You have nice melodies, but they can be developed more, as ilv said. I agree with Luis; the score frightens me. I think Luis doesn't mean the notes, but the actual lay-out. You said the following in answer to him: The difference regarding lay-out between Bach's Sonata and your Larghetto is huge. Not to be rude, but the Bach's score is clear and easily readable and yours is much harder to read: Rests everywhere, not even merged (for instance. m. 1. two quarter rests can be merged into one half rest.). When you look carefully at the other voices (not the first) of the Bach's Sonata you notice that the other voices except the first have some places where they don't sound, but there are no rests notated. I dare not to say if you may leave out the rests in your piece, but at you can merge the rests that can be merged. Furthermore there are overlap issues: For instance m.4. Very awkward, because quarter note on the fourth beat is overlapped by a quarter-rest. You definitely have to take more care about the final stage, the lay-out, because this is what the performers see when they play your music. Make it as readable and understandale as possible for them. More about the music itself, I think this is a nice introduction to a set of contrasting movements. Maybe you can consider to write a suite for it to stay with Bach. Overall nice job.
  10. For me it would be a huge advantage when we could skip forward and backward through the shared music. It makes it a lot easier to give feedback and it saves a lot time, especially with pieces longer than five minutes. At the moment I have to listen to (almost) the entire piece each time when I only want to listen again to a specific part later in the piece. I use Google Chrome and I do not know if this option is already present on other browsers.
  11. Hello Vadrif, Actually, it's nice, but too short in my opinion. You already set the atmosphere of the piece and although I don't listen to this kind of music very often, I like it very much (so far). When you extend this piece, make sure that there is enough variation in instrumentation, orchestration, dynamics, harmony etc. Otherwise the music could sound too monotonous. One of the biggest nightmares a composer can have is a lack of inspiration. I have the same now in the last two weeks; I erase every note that I have just written down. Horrible! If you become lazy, I would recommend not to continue composing in this piece for now. Look for inspiration instead of trying to compose something without inspiration. Simultaneously, you can work on other pieces for which you do have inspiration and motivation to finish them. When you have inspiration again for this piece, try to extend it! Good luck! Maarten
  12. Very nice! The darkness and tragedy are awesome and this is supported by the decent orchestration and the genious melodies. For me the pieces are too short, but I don't know if the quality of them would improve when extending the music. Well done!
  13. Hello Kamil, My first question is if you could tell me (and the others) what the lyrics of both pieces mean. Understanding the lyrics in combination with the music is in my opinion very important. I shall now give you my feedback on and thoughts about both pieces. Tam pod Salatinom The opening sounds very light. I like how you 'experiment' with harmony and how you already give away some of the melodic material that will sound later. This also applies to the Pockaj Diouca. Personally, I think the opening and some of the solo piano intermezzi sound a little bit weird in combination with the parts where the voice is accompanied by the piano These parts with voice sometimes remind me of some of Schubert's Lieder, while the piano intermezzi don't sound 'classical' in the same way. On the other hand I must say that this contrast also has its charm. Regarding form, I really like the structure of this piece. It's clear, as it has to be. Maybe you did it by accident, but I really like how you set the fluent, triplet figures in the piano accompaniment in mm. 5 - 27. against the more static sixteenth notes in the piano accompaniment in mm. 36 - 59. After this you present an even simpler rhythm, namely halve notes, quarter notes and eighth notes and you conclude with the same triplet figures as in the beginning, which satisfies my ears and gives the piece a clear end. Very smart, if done on purpose! Otherwise. . . it's still lovely. ;-) Pockaj Diouca Very nice harmony in the introduction! In this piece there is much more melodic interaction between the voice and piano than in the Tam pod Salatinom. This makes the piece more compact, because the two lines play with each others. The (aleatory) ending sounds pretty weird to me. The piece has a nice cadence, but it is disturbed by the small accelerando and random glissando. This is my opinion, you are the composer, so who am I to say it is correct or not. Overall, I like the pieces. The melodies are very rich and the harmonies in the piano are interesting. I hope this helps. Well done! Maarten
  14. Hi Luis, Thank you for sharing this document! This already answers a lot of my questions! Maarten
  15. Hello everybody, On FaceBook I have seen an invitation to write for the carillon of the Domtoren (church) in Utrecht. I never came on the idea to write for this instrument until now. The problem is that I don't know how to compose for the carillon. I cannot find much information about the possibilities and limitations of the carillon, so I would really appreciate it if you could tell me more about it! Thank you, Maarten