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  1. Yesterday
  2. Sounds good and fits the haunted forest theme well. I would say that the modulation of the strings and brass could be smoother, though. The dynamics have some very sharp increases and with them, some harsher resonances that could also be EQ'd down.
  3. I think you need to put in tempo and dynamics and a sound file would help. From the score it looks unvarying but without any idea of pace I can't say much. A problem you may hit (depending on the effect you want) is the double bass being too close to the cello too often. (And it doesn't run through the canon. It's going to sound muddy and may not work well in the last bar of the first page. The spacing of the notes in the last bar can be improved. At the mo you have a double third. If you insist on the doubled third, set the viola an octave above. I'm not sure the subject works well as a canon. It leaves room for improvement in harmony and wouldn't earn you many marks if intended to be counterpoint.
  4. Yes, I know.... Nancarrow would have been happy with software we have now.... It's good you. have developed this your way. I really like it.
  5. I think how I started it was a lot how Nancarrow did too, but then I deviated entirely when I realized I really didn't have the same limitations that a physical instrument would give me, so hence the 3rd piece with the repetitions.
  6. Hola, te comento en español porque me da la gana. Me gusta mucho tu trabajo. Por un lado creo que aún sigues explorando estilos e historias (cosa que nunca se acaba en la vida, la verdad). Tampoco sé tu "background", tu formación, si eres autodidacta o no... Pero se te ve una muy buena base sólida. Este trabajo es estupendo. Jeje, no sé si el Fum Fum Fum se puede entender del todo fuera de aquí, es una pieza genial. Un abrazo. Y sigue haciendo música xD!.... Luis.
  7. Pretty clear you know what you're doing! There's nothing musical or score-wise to comment on. Can I deduce that from the short score, that you come up with a basic 'piano draft' first? To me, arranging is a particular skill within orchestration. The piece is most likeable, exciting, energetic. The pauses suggest a series of short tableaux as in a ballet. You draw attention to the occasional likeness between (earlier) Stravinsky ballets (Petroushka) and Bartok. (I'm not familiar with Ellington to be able to connect him). It could be considered 'light music' which is not to belittle it at all. In fact, for its lightness it's pretty demanding. Altogether brilliant and thanks for the full score aside from Youtube.
  8. Charming and witty ..... I hear Resphighi calling .... as well as your other friends .... I am a fan~! It brought a smile to my face. 😊
  9. I've been having the impression I was playing a bit too safe with my harmonies lately, so I've done what I used to do at the beginning: do a restricted writing exercise and re-harmonize or rethink simple folk melodies. You may recognize the third piece, its lyrics have been translated to English and Spanish, at least. There's also some trivial quote hidden in there. I include both the full orchestral score, and the initial piano sketch. As a curiosity, I also include pics of the first 2 folk dances. Both involve steel-reinforced wooden sticks, and are fast-paced and violent. Someone breaking a bone isn't that rare (the xylophone in the first basically parodies the bones breaking). I danced myself to the 2nd melody.
  10. A nice set of variations in the "Classical" style ... very Beethoven in feel.
  11. Good, very good. Live recordings are better than other variations. Have you ever tried musescore.com? A friend of mine told my about this stuff he also uploads his scores on this web site examples- https://musescore.com/user/7339591. Very usefull in case the originals are suddenly lost.
  12. I see you have a score on this song. A friend of mine told me about "musescore" (example of his work- https://musescore.com/torbybrand/one-summer-s-day-spirited-away). He saves all his scores here, very usefull tool.
  13. Upload it to iTunes and see reaction! Raitings of music sometime is not depend on quality of it but on marketing. You can see that rhere are a lot of stupid songs with stupid lyrics and awful music but because of good marketing they are popular!
  14. Thank you @MJFOBOE and @Quinn for the interesting discussion regarding the oboe, I am personally not very experienced in the winds writing as of yet so it's really great that I get to see this discussion about wind instruments! Thank you!
  15. Last week
  16. 1. haunting intro. the repetitive nature reminds me of the cyclical elements of life. So well constructed this is. kind of a contemporary Herbie Hancock goes to Asia and meditates a ton 2. Ok this is exactly the kind of organized chaos that I love, the kind that says I don't give a fudge but also I know exactly what I'm doing. Amazing. 3. You are very versatile, that much is clear. this reminds me of Jacob collier, and it's also at that level of proficiency (as I see it). To me this song does not say you are fearless, it says you are willing to explore it, and it gets transformed the more you go. The magical fluttering to me is like the sparks of transformation, flickers of enlightenment as the two seas of problem and solution coalesce. 4. Not my type of piece but nonetheless im entertained
  17. @NRKulusThank you for taking the time to comment and share your feedback. With regard to singability, I spent a lot of time making sure each line was doable on it's own. I've spent my entire life singing in choirs and know how easy it is to right something pretty near impossible to sing. I know that there were a couple of words that fell slightly strangely on certain notes, though I do believe that some of that comes down to the way the music was rendered, and is not entirely down to my writing, though that absolutely plays a factor.
  18. This is very good work, especially for one of your first choral pieces. The vocal lines are all very singable and, despite the "free counterpoint" feel of most of the piece, there's still a good sense of melodic cohesion. The big pauses help define the form and prevent the listener from getting lost. But you could try preceding some of them with more unresolved harmonies for more of a sense of momentum and continuity (as it is, I think the form stagnates a little because every section ends on some kind of D minor or F major harmony, both of which feel like a tonic in this key). When setting a text in a language you don't speak, it's always good to say the words out loud (silly as it may seem) while you're coming up with melodies--and generally make sure you know where the emphasis happens on every word. Most of the text setting here was all right, but there were a few things that might seem awkward to someone familiar with this text (especially when you emphasize and draw out the first syllable of "Maria", even though the 2nd syllable of that word is emphasized in speech!)
  19. Each landscape is a representation of my experience and thoughts of different locations I visited in Japan during the spring of 2017. I. The Souls of Adashino Nenbutsu-ji This temple, founded in 811, sits in an area where people have historically abandoned the bodies of the dead, exposing them to the elements. Now some 8,000 statuettes, which were scattered around Adashino and collected in 1903, memorialize the souls of the dead. The movement contains strong representations of time and death, yet remains hopeful that the souls abadoned have found peace. II. The Markets at Zenko-ji Temple Less focused on the history of the temple, the movement highlights the vibrancy of the people and markets that lead up to the temple. Especially on festivals and weekends, people busily swamp the temple, many wearing traditional japanese items, shop for trinkets whilst having a good time with friends and family. III. The Torri of Fushimi Inari Althought technically the shinto god of rice, merchants and manufacturers of Japan traditionally view him as the patron of business. Since being built in 1499, the main shrine has amased nearly 10,000 torri (the orange gates) on its main path. While traveling the path, one becomes transfixed with a sense of weight and reverance, as the path contains several smaller shrines spanning the 2.5 miles trail. It is a custom to donate to the temple in order to see a wish to come true, or to thank for a wish that has become true. IV. The Rakan at Otagi Nenbutsu-ji There are nearly 1,200 Rakan Statues at Otagi Nenbutsu-ji. The statuettes, usually humorous in nature represent the disciples of Buddha. In writing this movement, I tried to channel the whimsical and mischievous nature conveyed in the statutes. Therefore, despite the movement starting with some gravity (representing the serious discipline it takes to create these rakan), the movement quickly dissolves to quarky and disjunct motives. There are some mistakes in performance, as usual, so here is a score to follow. Hopefully you can gage my full intentions. Perhaps I'll get a better performance one day... Edit: Here are some electronic versions if you want to hear without mistakes (but mechanical haha) 1. https://app.box.com/s/ct8kdx1brsfnn3dk6crpjp48pv2brtm5 2. https://app.box.com/s/k9tve99nc2gysulzrgytbvc9d3nbdqjf 3. https://app.box.com/s/22autvd43byzk58udn2xns9i0ucs1ni4 4. https://app.box.com/s/f16l1sgee9aea0s0yhkz1xmkqh5tapdh
  20. Thanks! And that a fair criticism. I tried to make this idea more "simple" from a contrapuntal standpoint to be more prelude like, before the later faster movement, but I can see how I could have included more contrary motion between the voices!
  21. Thanks for the review. I am so pleased you enjoyed the work! 😇
  22. @MJFOBOEThanks for the feedback! Really appreciate you taking the time to listen!
  23. I agree with you that there is a sweet range for the Oboe - maybe e - d above the octave. So I concur that if I was to compose for the Oboe I would take that into consideration. However, I must again stressed that a professionally trained oboist with good technique should have little trouble attacking those low notes. Now having said that ... why make an oboists life miserable composing way down in the basement. Why, because, the weather, temperature, humidity, reed behavior ... and much more all influences your ability to play well. So at times ... what should be easy becomes more of a challenge! So I would rather not compose down there unless it really contributed to the composition. And yes, since I am a community orchestra player ... I do know that the skill levels in community orchestra vary from poor to very good and at times exceptional. The problem is more for the attack - to play softly and in pitch rather than a raucous sound.
  24. Well, you're addressing me here as I made the comment. Respecting your knowledge/experience it would still seem a worthwhile caution not to count on an orchestra or ensemble having a concerto-quality player in the ranks. None of the oboists doing the circuit in our local orchestras could get the same dynamic range from the bottom Bb and the Bb 2 octaves higher. Sure, sometimes we write for particular players and their abilities but many composers sending their scores around wouldn't be aware of a player's qualities if accepted. Simply, in any course on orchestration and the couple of text books I have, the student is advised on the strengths and weaknesses of the various woodwinds.
  25. Thats a fair point! I usually would, but I wanted to make a prelude like idea here, so I tried to make it a bit "simple", compared to the more complex ideas in the following movements.
  26. Yes it is supposed to be a harpsichord!
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