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  2. When "personal standards" of beauty across millenia and cultures remain consistent, it does not suggest a high-degree of subjectivity exists regarding the subject. At the most basic level, a dissonant harmony of say a minor second or tone cluster will sound dissonant and a major chord will sound consonant. The laymen will be inclined to say that the latter "sounds better". The perception of consonance and dissonance is not a subjective phenomena. It is a reality of physics and the structure of the human ear. Few will disagree with that, but for some reason will argue that this objec
  3. Yesterday
  4. Hey guys! I recorded this piece, with live string quartet and and oboeist. It was a blast! Working with musicians is cool because it gives you so much feedback, and there's always mistakes to learn from. What I have learnt this time is that if most notes are staccato, and some aren't, they would probably play staccato if not noted. So, I should really have marked tenuto on the notes that I wanted to lengthen. So on this video they re-recorded the whole piece with my intended articulation. Also the high notes in bar 32 and 33 for oboe. I thought it would be hard to hit the note
  5. Hm, I like it! I admit, the tempo switch and sporadic use of offbeats and tuplets threw me off at first, but the more I listened, the more that I liked it and saw that it added character. The synth and piano combo definitely gave it a very unique and almost foreign feel, which I suppose is the whole point, so great job at nailing that! If suggestions are welcome, I feel like adding a droning synth in the background for the last 1/2 to 3/4 of the song would create a more broad, atmospheric feel to the piece, though your song is still very nice as it is. Great job! Keep on writing!
  6. A number of drive-bys: Well, more to the point I would say is that I am describing nostalgia with reference to that yummy tomato flavoring that you can get out of a good soup can as well as to remembered feelings of love and contentment from Aunty Emmy ((((((((((ok, i admit, there was no Emmy, no Upper Quad, no Mansion, I just made all of that up in my attempt to make "points")))))))))) And who is to say what part of my nostalgia I can and cannot make use of in whatever process that I am engaged in whether it be evaluating for myself standards of beauty? You would have to bett
  7. Hi. I wouldn't care about the exact playing here. As you see this mass sonority style is defined by the indeterminacy, too. I only took care that the glisses were doable (hope so).
  8. This is Messiaen's mode 2 In the first part is where I used it the most. The majority of notes here (in concert pitch to see it clearly) are in the mode. Sometimes I write other ones, as F natural, I don't mind, I use this things the way I like. I was curious how you built the quartal melody in the woodwinds at 8-13. Is there some kind of scale these are built off of, or are they just parallel quartal voicings chosen to taste? No, they don't fit in any scale. The intention was to make a mirror movement between flutes and clarinets. You're right
  9. Thank you for the feedback 😊
  10. Nice piece, if just a little on the anonymous side - maybe the use of thirds at the end could be more consistent, and lead to some kind of climax? Sounds good anyway, can't beat piano and strings for this cinematic mood!
  11. Sounds good! Some interesting chords there, including at the opening. Even though its a short piece, I think you could have more interesting textures, e.g. Violin 2 taking the melody over 1, or the cello doing something gorgeous in its upper register (there are some attempts made in this manner, but it would make for more engaging music to go further and expand the texture a bit beyond Violin 1 at the top, 2 underneath, viola underneath, and cello at the bottom). Also, in bar 18 for example, there is duplication of notes leading to a thin texture where there could be a richer, more full one: t
  12. Sounds great! I'd love it to be extended a little, since it sounds a little abrupt. That horn gliss, how precise do you want the players to handle it (which notes at what time)? It can't be entirely smooth over the whole minim length, is my understanding...
  13. Hello! Some time ago I posted the first movement of a Clarinet Sonata, and you were so very kind and generous to give super helpful feedback! This is the second movement from the same sonata, and any comments or ideas for improvement would be greatly appreciated!
  14. So this fugue of yours adopted the style of Bach perhaps of its own accord? It is certainly true that fugues have the ability to go off of the rails into territories perhaps better left unnavigated. Of course that is also true of works written to embody the style and design of other forms but given the stark nature of the basic fugal form, any rails-off-going is much more noticeble than in a piece written in, say, sonata form where such flights of fancy are sometimes expected - and apparently in the mind of some composers to veritably encourage them to the utter chagrin of at least one p
  15. The "nostalgia" you describe does not come from "art' but from consumerism; you're attaching a memory to a consumer product, it's no different than one having fond memories of playing a video game with their friends back in middle school. But it says nothing about beauty standards. I do not believe you hold a red and white soup can to be a high-aesthetic standard; you may as well decorate your entire house with Polish flags if it's that easy. A normal person, across various cultures I might add, can listen to both Beethoven and Schoenberg and clearly tell that Beethoven is better. Th
  16. and is there a way here on YC for posts to be archived for an indefinite or eternal period of time? hey, dont read anything into this query, I am just asking!!!
  17. Those Parrish paintings look huge, no way they are going to fit inside my apartment. And Warhol's soup can pictures awaken in me long lost nostalgia for those long winter days spent playing in the snow of the upper quad located behind the house (read mansion) and followed by cans and cans of tomato soup - mater soup, we called it - lovingly prepared by Aunty Emily - yes, we did call her that! - before moving on to the nappy-poo portion of yet one more day of our pathetic existence. ((wow, was THAT a trip down memory lane)). So by my standards, Warhol's cans are way superior to any other damn
  18. In times not so long ago, it was 100% of the time. The purpose of the arts has always been to beautify and create an uplifting environment which reflects the unique aesthetics and sensibilities of the people who inhabit it. Post WW2, that's been eradicated. Local traditions, customs etc. are bad for the profits of International Corporations so now you'll find the same garbage in clothing, music, architecture, art, and so on from Mexico to Berlin to Tokyo. The fact that, at one time, you found unique things in these places meant that it was too hard for McDonald's or Nike to gain a s
  19. Last week
  20. This one is going for performance, after a long time I haven't got one. I've barely composed in the last year or so, and thus it came to this. Any reviews are welcome.
  21. Neat, very modern-sounding. A couple of questions: Would you mind showing how/where you used the 2nd mode of limited transposition? I looked but couldn't find it. I was curious how you built the quartal melody in the woodwinds at 8-13. Is there some kind of scale these are built off of, or are they just parallel quartal voicings chosen to taste? Also a few comments/observations: Clarinets are typically written in Bb or A, I don't think C is very common any more. The 1st horn going up to high D in m.34 is pretty extreme, especially at pp. Generally high C6 (wri
  22. Hi everyone, Here are three short songs that I would like to share with you. They are all based on texts by Hermann Hesse. The first one is called 'Abendgespräch'. The German text can be found in the score. An English translation by Sharon Krebs can be found here: https://www.lieder.net/lieder/get_text.html?TextId=116645 Unfortunately I only have a notation score playback as audio to share for this song: Abendgespräch - Hesse-Lied.pdf Abendgespräch.mp3 For number two, called 'Kennst du das auch?' I do have a proper recording, sung by Skot
  23. Can someone let me onto exactly what that little star thing-a-ma-joogle is meant to indicate next to the title of current piece on the forum posting listing screen? Is it meant to indicate, a-la-Sally-Fields-famous-Oscar-winning-acceptance piece that you "you like me!!! right now, you like me!!!"? Prolly not, I am guessing. So this thread be just a little morning fun for me, maybe you:
  24. @Advanced Blowhard I can only guarantee that I haven't hear it during quarantine when I was in Quaranti.
  25. I wonder how often artists explicitly adopt a goal such as this? If I one day acquire the abilities to produce actual music and art, I do not believe I would approach following works hoping out loud to myself that they will be deemed brilliant, beautiful, great, but internally would - in a silent way to myself and only to myself - hope that they do exactly that. And why would I not do that? I would much rather hear someone say about any such works that "that is great and so very beautiful thou most talented individual" instead of "oh, what were you thinking when you concocted that, thou most m
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