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0| Name of Piece | MIDI |
|---|---|
| Piano Concerto No.2 | Piano Concerto No.2 |
6 replies to this topic
#1
Posted 27 April 2011 - 05:22 PM
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My second piano concerto, again in my own style kuz ive always had to idea of writing really epic sounding piano concertos, i apologise for the crappy sounds as i am shit at programming .
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#2
Posted 28 April 2011 - 02:40 PM
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Intermediate Composer
Hi
A score would help listening to your music. Up til now I only listened to the Grave. No score = no comments
Kind regards
W.S.
#3
Posted 04 May 2011 - 04:42 PM
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why not just listen to it all u stupid spastic
#4
Posted 04 May 2011 - 05:21 PM
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Intermediate Composer
- My Compositional Styles:A sort of 'romantic modernism'
- Notation Software/Sequencers:Sibelius 5
- Instruments Played:Violoncello, piano, organ, viola
Firstly, that kind of language will get you banned. I am not the sort of busybody who delights in taking offence in behalf of absent minorities, but 'spastic' is crude, offensive and not a word you should ever require in a public space. Wolfgang, like the vast majority of users here, is trying to provide you with valuable constructive criticism, and you insult him in return for making a very reasonable request. We are not a review dispensing service and have no obligation to provide you with any feedback on any of your music, so you should be grateful that he is sufficiently interested in your work to ask this in order to be able to do so.
Secondly, just stop and consider for a moment why we might be so insistent on having you put a score of your piece up instead of 'just listening to it'. Thought of any reasons? Here's five just off the top of my head. First, it means reviewers can point out exactly what they are talking about. If I want to comment on something you write, it's a hundred times clearer for us both if I say 'the D# in bar 56' or 'the timpani entry four bars after figure D' rather than 'some wind instrument after the loud bit a couple of minutes from the start'. It simply doesn't work with a recording. Second, it allows us to see things not apparent to the ear. If you write a melody for two bassoons, a horn, three clarinets and the viola section in unison, only the most experienced ear can hear that exact combination of instruments, and even then with difficulty if the recording is MIDI. Thirdly, many of us like to 'hear' the score by looking at it on the page rather than have a poor computer-synthesised version. Fourth, many things are easier to spot when looking at a graphical representation of the music. String bowings, articulations, phrase markings, instrumental doublings, and many more. Fifth, assuming you intend at some point for actual musicians to perform your work, the correct preparation of a score and parts is as important as the quality of the music itself and you should give it equal care and attention. Performers - and being a semi-professional one myself I can safely speak with authority here - hate badly written or badly presented parts, even to the point of refusing to play the work if they can. You can imagine what this does to the reputation of a composer, which is why all good composers produce a decent score and parts.
Secondly, just stop and consider for a moment why we might be so insistent on having you put a score of your piece up instead of 'just listening to it'. Thought of any reasons? Here's five just off the top of my head. First, it means reviewers can point out exactly what they are talking about. If I want to comment on something you write, it's a hundred times clearer for us both if I say 'the D# in bar 56' or 'the timpani entry four bars after figure D' rather than 'some wind instrument after the loud bit a couple of minutes from the start'. It simply doesn't work with a recording. Second, it allows us to see things not apparent to the ear. If you write a melody for two bassoons, a horn, three clarinets and the viola section in unison, only the most experienced ear can hear that exact combination of instruments, and even then with difficulty if the recording is MIDI. Thirdly, many of us like to 'hear' the score by looking at it on the page rather than have a poor computer-synthesised version. Fourth, many things are easier to spot when looking at a graphical representation of the music. String bowings, articulations, phrase markings, instrumental doublings, and many more. Fifth, assuming you intend at some point for actual musicians to perform your work, the correct preparation of a score and parts is as important as the quality of the music itself and you should give it equal care and attention. Performers - and being a semi-professional one myself I can safely speak with authority here - hate badly written or badly presented parts, even to the point of refusing to play the work if they can. You can imagine what this does to the reputation of a composer, which is why all good composers produce a decent score and parts.
'Pay no attention to what critics say. No statue has ever been put up to a critic'. Janne Sibelius
Review my latest orchestral work The Sun Rising
Read my ramblings at inthemistsblog.blogspot.com
Review my latest orchestral work The Sun Rising
Read my ramblings at inthemistsblog.blogspot.com
#5
Posted 04 May 2011 - 09:18 PM
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Composer
- Favorite Composers:Brahms, John Williams, Rachmaninoff, Chopin
- My Compositional Styles:neo-romantic
- Instruments Played:trombone, euphonium, keyboards
siwi, on 04 May 2011 - 05:21 PM, said:
Firstly, that kind of language will get you banned. I am not the sort of busybody who delights in taking offence in behalf of absent minorities, but 'spastic' is crude, offensive and not a word you should ever require in a public space. Wolfgang, like the vast majority of users here, is trying to provide you with valuable constructive criticism, and you insult him in return for making a very reasonable request. We are not a review dispensing service and have no obligation to provide you with any feedback on any of your music, so you should be grateful that he is sufficiently interested in your work to ask this in order to be able to do so.
Secondly, just stop and consider for a moment why we might be so insistent on having you put a score of your piece up instead of 'just listening to it'. Thought of any reasons? Here's five just off the top of my head. First, it means reviewers can point out exactly what they are talking about. If I want to comment on something you write, it's a hundred times clearer for us both if I say 'the D# in bar 56' or 'the timpani entry four bars after figure D' rather than 'some wind instrument after the loud bit a couple of minutes from the start'. It simply doesn't work with a recording. Second, it allows us to see things not apparent to the ear. If you write a melody for two bassoons, a horn, three clarinets and the viola section in unison, only the most experienced ear can hear that exact combination of instruments, and even then with difficulty if the recording is MIDI. Thirdly, many of us like to 'hear' the score by looking at it on the page rather than have a poor computer-synthesised version. Fourth, many things are easier to spot when looking at a graphical representation of the music. String bowings, articulations, phrase markings, instrumental doublings, and many more. Fifth, assuming you intend at some point for actual musicians to perform your work, the correct preparation of a score and parts is as important as the quality of the music itself and you should give it equal care and attention. Performers - and being a semi-professional one myself I can safely speak with authority here - hate badly written or badly presented parts, even to the point of refusing to play the work if they can. You can imagine what this does to the reputation of a composer, which is why all good composers produce a decent score and parts.
Secondly, just stop and consider for a moment why we might be so insistent on having you put a score of your piece up instead of 'just listening to it'. Thought of any reasons? Here's five just off the top of my head. First, it means reviewers can point out exactly what they are talking about. If I want to comment on something you write, it's a hundred times clearer for us both if I say 'the D# in bar 56' or 'the timpani entry four bars after figure D' rather than 'some wind instrument after the loud bit a couple of minutes from the start'. It simply doesn't work with a recording. Second, it allows us to see things not apparent to the ear. If you write a melody for two bassoons, a horn, three clarinets and the viola section in unison, only the most experienced ear can hear that exact combination of instruments, and even then with difficulty if the recording is MIDI. Thirdly, many of us like to 'hear' the score by looking at it on the page rather than have a poor computer-synthesised version. Fourth, many things are easier to spot when looking at a graphical representation of the music. String bowings, articulations, phrase markings, instrumental doublings, and many more. Fifth, assuming you intend at some point for actual musicians to perform your work, the correct preparation of a score and parts is as important as the quality of the music itself and you should give it equal care and attention. Performers - and being a semi-professional one myself I can safely speak with authority here - hate badly written or badly presented parts, even to the point of refusing to play the work if they can. You can imagine what this does to the reputation of a composer, which is why all good composers produce a decent score and parts.
Well said!
#6
Posted 14 May 2011 - 08:38 AM
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Intermediate Composer
siwi, on 04 May 2011 - 05:21 PM, said:
Firstly, that kind of language will get you banned. I am not the sort of busybody who delights in taking offence in behalf of absent minorities, but 'spastic' is crude, offensive and not a word you should ever require in a public space. Wolfgang, like the vast majority of users here, is trying to provide you with valuable constructive criticism, and you insult him in return for making a very reasonable request. We are not a review dispensing service and have no obligation to provide you with any feedback on any of your music, so you should be grateful that he is sufficiently interested in your work to ask this in order to be able to do so.
Secondly, just stop and consider for a moment why we might be so insistent on having you put a score of your piece up instead of 'just listening to it'. Thought of any reasons? Here's five just off the top of my head. First, it means reviewers can point out exactly what they are talking about. If I want to comment on something you write, it's a hundred times clearer for us both if I say 'the D# in bar 56' or 'the timpani entry four bars after figure D' rather than 'some wind instrument after the loud bit a couple of minutes from the start'. It simply doesn't work with a recording. Second, it allows us to see things not apparent to the ear. If you write a melody for two bassoons, a horn, three clarinets and the viola section in unison, only the most experienced ear can hear that exact combination of instruments, and even then with difficulty if the recording is MIDI. Thirdly, many of us like to 'hear' the score by looking at it on the page rather than have a poor computer-synthesised version. Fourth, many things are easier to spot when looking at a graphical representation of the music. String bowings, articulations, phrase markings, instrumental doublings, and many more. Fifth, assuming you intend at some point for actual musicians to perform your work, the correct preparation of a score and parts is as important as the quality of the music itself and you should give it equal care and attention. Performers - and being a semi-professional one myself I can safely speak with authority here - hate badly written or badly presented parts, even to the point of refusing to play the work if they can. You can imagine what this does to the reputation of a composer, which is why all good composers produce a decent score and parts.
Secondly, just stop and consider for a moment why we might be so insistent on having you put a score of your piece up instead of 'just listening to it'. Thought of any reasons? Here's five just off the top of my head. First, it means reviewers can point out exactly what they are talking about. If I want to comment on something you write, it's a hundred times clearer for us both if I say 'the D# in bar 56' or 'the timpani entry four bars after figure D' rather than 'some wind instrument after the loud bit a couple of minutes from the start'. It simply doesn't work with a recording. Second, it allows us to see things not apparent to the ear. If you write a melody for two bassoons, a horn, three clarinets and the viola section in unison, only the most experienced ear can hear that exact combination of instruments, and even then with difficulty if the recording is MIDI. Thirdly, many of us like to 'hear' the score by looking at it on the page rather than have a poor computer-synthesised version. Fourth, many things are easier to spot when looking at a graphical representation of the music. String bowings, articulations, phrase markings, instrumental doublings, and many more. Fifth, assuming you intend at some point for actual musicians to perform your work, the correct preparation of a score and parts is as important as the quality of the music itself and you should give it equal care and attention. Performers - and being a semi-professional one myself I can safely speak with authority here - hate badly written or badly presented parts, even to the point of refusing to play the work if they can. You can imagine what this does to the reputation of a composer, which is why all good composers produce a decent score and parts.
Thank you very much for your reaction Siwi. It is indeed well said. Thanks again. Highly appreciated.
Kind regards
W.S.
#7
Posted 20 May 2011 - 12:21 AM
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the server on my laptop got dameged and i lost the score for the second movement so i dnt see the point
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