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  2. One of the most interesting Mexican composers of the last century, overshadowed for a while by Carlos Chavez, Revueltas is starting to receive the recognition he deserves: colourful orchestration; attention to rhythm; superb craftsmanship. He was born into an artistic family of painters, writers and dancers. He decided on music; took up violin at a very young age thanks to his father and went on to study the instrument and composition in Mexico City, followed by a period in Austin Texas and the Chicago Musical College. His professional career started in San Antonio, Texas, playing violin in a theatre orchestra and conducting in Alabama. Spotting him, Chavez invited him to be assistant conductor of the Orquestra Sinfonica de Mexico. He started composing in earnest. But it was when he turned to film music he hit trouble. Receiving the commission for the film Redes (Waves), caused his breakup with Chavez who hoped to get the job. Political upheaval disfavoured Chavez who was also sacked from the Ministry of Education (that commissioned the score). In 1937, Revueltas went to Spain as part of a tour organised by a politically left wing group, the League of Revolutionary Writers and Artists (Liga de Escritores y Artistas Revolucionarios). They went to support the Republican cause during the civil war. Franco won and Revueltas had to return to Mexico somewhat crestfallen. Unfortunately he turned to alcohol that ultimately cost him his life, his health so weak that a bout of pneumonia overwhelmed him. He died in complete poverty. His music says a lot about his ironic view of life, the political turmoil, his hardship as well as his joys but it is all delivered with verve and finesse. Notably, when his music sounds Mexican it never quotes Mexican folk tunes; but it’s somehow more than just Mexico. His most famous work is Sensamaya, a ritual piece with its pounding 7/8 beat and complex rhythms. Bernstein made a great recording: https://www.youtube.com/watch?v=aJxd0nIY1oA A suite drawn from the film score Redes has become well known. https://www.youtube.com/watch?v=KrZDr9leDJU Cuauhnáhuac for Orchestra. The preface to this score reads “This is a music without tourism. In the orchestra, the huehuetl (Indian drum) is used as a means of nationalist propaganda. Other instruments in the score are even more nationalistic, but no attention should be paid to them; it is all just anti-capitalist agitation!" https://www.youtube.com/watch?v=VrJ2ekT4n-o He also wrote 4 string quartets, all worth audition for those who like this genre. In particular the 1st and 4th “Musica de Feria” Quartet 1: https://www.youtube.com/watch?v=jppLEmLYVkg And several songs all easy to listen to. The Cinco canciones para ninos dos profanes: https://www.youtube.com/watch?v=BtXjdPwdmI4 Scores for these works are available but as usual, fairly expensive. (I have but 2 but they were worth study: Redes and Cuauhnáhuac.) I sometimes turn to South American music as a change from the European. Worth a look? Anyway, please add to the selection if you'd care to. Cheers .
  3. I'm not an expert in classifying things by genre so I cannot help ya, but, dunno. I don't know if jazz goes that far (things like 1:30 and so on) and there seems to be either some electronic effects or dunno. And folk, iirc folk music depends on the country, why would this be folk? Kind regards!
  4. Album of neoclassical music. Consists of 9 compositions, lasting about 20 minutes. The release took place on 23 platforms (iTunes Store, Apple Music, Amazon, Anghami, Awa, Boomplay, Claromusica, Deezer, Facebook, HelloJune, Kanjian, MonkingMe, Resso, Saavn, SberZvuk, Shazam, SoundCloud, Spotify, Tencent, Tidal, TikTok, Yandex Music, YoutubeAT) On Apple Music On My Personal Site
  5. Ноктюрн для фортепиано Скачать ноты Мой персональный сайт Амаль Керимоф
  6. Hey there I get Moonlight mvmt. 3 vibes too, not that that's a bad thing. I really like your stuff, and if you don't mind, I'm gonna use this post to give some feedback on all the music I've heard from you. So I've listened to this piece, and it seems like you've written a lot more nocturnes as well. I checked out the link in your profile but it seems like you have to be a member of that site to listen to the music. I also listened to your two piano sonatas all the way through. I honestly would be parroting SSC with a lot of the critical advice I have, and he's much smarter than I am with music, so I'd take to heart what he had to say. One thing to always watch for is playability. To you play piano yourself? With your sonatas, there were some very wide intervals that would be hard to reach for a lot of performers if you want them played as notated. If you've got some Rachmaninoff hands that's great, but just have it in the back of your mind if your intention is for your music to be played by everyone. As SSC said, the sonatas were a bit difficult to capture my attention at times because although you have no shortage of great ideas, keep digging in your compositional toolbox for ways to develop established themes. However, I will say that it is a tremendous achievement and arduous ambition to attempt a full sonata, so kudos to you on that. I hear a lot of Beethoven-type ideas in your music. Lots of motifs and toying with them as part of your sound. Beethoven is one of my favorite composers, and he's an excellent source to study from. But I'd also encourage you to keep absorbing all the attributes you enjoy from his music as well as your other inspirations to keep fine tuning your personal unique sound. Not that you don't, just some advice if you don't already. With this nocturne, it felt like your arpeggio figures were leading me to a melody, but it never came. I think it's fine as is, and the 2:00 section eluded to what I felt the music was building towards, but maybe that's an avenue you could consider for future pieces. You have fine harmonies, and some surprising moments (I really like the part at about 3:10). Now, with all that said, I'd like to congratulate you on your uniqueness of voice. I absolutely LOVE your musical voice. Sure they could sometimes be executed better, but that will come with more practice and further studies as you grow as a composer. You have what a lot of others who study all their lives don't have. Your ideas are phenomenal and they for sure captivate me. It's very rare I go drudging through someone's profile to hear other pieces they've written. I like your style, and that's the part that no conservatory can teach. What you've chosen to say with music so far has made me a fan. Like I said before, really keep exploring all the different aspects of music. Years back, I never cared for Chopin. I knew he was a legend, but his music didn't speak to me like Beethoven, Sibelius, Stravinsky, Sibelius, etc. did. But now he's one of my favorite composers. I was never a great melody writer, and usually stuck to motifs with rhythmic and harmonic development. Even in my rock band, melody and lyrics were just an after thought to all my guitar parts. But after learning a few pieces by Chopin, and really looking at the score to see what he was doing, I became amazed at what I was lacking and missing out on in my music. I only tell you this because I hear somethings that I feel like I used to do in your music. Although I haven't heard your full catalog, it's just the gist I get from what I've experienced with your tracks. Like I said, I'm really digging your voice and style, and I'm very excited to hear what you have to offer in the future. It seems like you've been commenting on other people's work as well. I usually tell people I haven't spoken to before to make sure and listen to others' pieces for more chances at feedback, but you seem to have the right idea about that already. Welcome to the forums, and stick around! There's loads of talented musicians on here, and simply reaching out to tell someone you enjoyed their music, or offering advice and critique will a lot of times make their day. Thanks for sharing man, you've got a great future ahead of you in music!! Vince P.S. thanks for mentioning the piano software. I downloaded it and it's tons of fun
  7. Wow! What an awesome performance, and the recording was fantastic. Each instrument was captured really well, and hopefully this was your vision! How did you feel about the performance? Was there anything you would change or reconsider? I'm not insinuating there should be, just curious to hear your thoughts with it's final form. Great performers too, congrats on completing the hardest step in composition with an actual performance. Well done!!
  8. I am slightly confused about the way you've written your duplets in this piece. It might be less confusing if you wrote your duplets as dotted 8th notes which I think in this case they're equivalent to. As for the music - I like the tone set by this song. It sounds dreary which I think is the intent given the subject of the poem (which by the way is a curious one considering it's summer LoL). Thanks for posting the words in English for the community. I'm sure a real singer would add much emotion (or apathy since that's what I think you're going for LoL) and make it sound even more musical and affecting. Thanks for sharing and I hope you do well in the competition!
  9. Here is the poem in french and its translationto english after: Les sanglots longs Des violons De l'automne Blessent mon coeur D'une langueur Monotone. Tout suffocant Et blême, quand Sonne l'heure, Je me souviens Des jours anciens Et je pleure; Et je m'en vais Au vent mauvais Qui m'emporte Deçà, delà, Pareil à la Feuille morte. Autumn Song With long sobs The violins Of autumn Wound my heart With languorous Monotony. All choking And pale, when The hour sounds, I remember Departed days And I weep; And I go Where ill winds blow, Buffeted To and fro, Like a Dead leaf.
  10. Hello again, I'm posting a lot lately... This will probably the last one in a while! I am sending this score to a competition, I would be grateful if you could provide me with some of your feedback. I am also worried about the score, I may not be familiar with all the conventions or the proper way of writing the score, if you could point me towards mistakes or things to improve it would be really great! This is a song for mezzo-soprano voice and piano, based on the poem of Paul Verlaine 'Chanson d'Automne'. The audio is software generated, and I was not pleased with the voice playback of the software so I substituted the voice to a clarinet (but the actual piece is for voice and piano). Lastly, the score in the video is not the updated score (I have included the updated one separately as a pdf). I have removed things such as slurs in the voice part where it is not appropriate. Thank you! François
  11. Yesterday
  12. I really enjoyed this work .. Baroque with a bit of a modern feel in the Vivace movement which reminded me of Ottorino Respighi, Ancient Airs and Dances. Nicely done~! Mark
  13. It reminds me of Pilotwings music for the SNES. The flight student got a really high score on their parachute jump/jetpack/airplane/hang-glider flight test and they have a chance to actually get their license. I think it could definitely work in such a context with the right orchestration. Cool piece!
  14. Thank you! I'm glad you liked it 🙂 I agree with you about the ending, the digital interpretation doesn't play the ritarndando like I intended. And thanks for pointing out the 4/4 at the beginning, I'll update it. I feel like the part at measures 23-24 would work indeed, but somehow I'm not completely satisfied with it. On the other hand, I hadn't been able to come with something better for it, so I might just leave it. Thanks for your input! François
  15. Many thanks as always for the kind words. I'll probably try to render it again with a softer piano VST. Think it could benefit from some rubato, and intermittent sustain pedalling as well. Might try to write a second movement if I can find some inspiration!
  16. This is a beautiful piece. Reminds me a little of the Moonlight Sonata. I like the video effect too. Have seen something similar before on this Final Fantasy cover:
  17. This is a very interesting work ... there are some nice moments. I guess I don't know if the resulting thematic material/structure is intentional. There is no question that it is a singular style and you have something to say. Do you play harp? Or a string instrument. Maybe you can elaborate a bit more about the piece.
  18. Hi, this is a new music that I've been working on for almost one year O.o I think it's my first serious work and I hope you enjoy listening to it. I would appreciate it if you could give me some feedback about this work. Thanks 😄
  19. Trio sonata in A major written in the italian school for two violins and basso continuo. 1. Grave 2. Allegro (fuga) 3. Andante - fuga - andante 4. Vivace (fuga) Movement 2, 3 and 4 are very free in form, allmost as free counterpoint with mutiple sections. Please tell me what you think
  20. Last week
  21. This is a wind band arrangement of a choir piece I did a couple years ago. (That piece is also on this site!) The original choral version was for a Hallowe'en virtual choir, and in this arrangement, I tried to use the expanded palette of the wind band to evoke even more spookiness. I'm fortunate that most of my choir works are performed live--but the same can't be said for my band music! So I spent an inordinate amount of time making this recording in my DAW with samples from VSL Special Editions v. 1-2. The sequencing process took considerably longer than actually orchestrating the piece did. It nearly destroyed me. I don't know how people who create entire orchestral film scores in DAWs do it. So... if you're one of those people, feel free to comment on the sequencing/mixing as well. I tried to make it sound as realistic as possible. I hope you enjoy it!
  22. Hi all! Here is the Scherzo and Trio from my Baroque Suite WIP (think of it less as a Romantic contraption, and more as a pair of Bourrees). The Trio is a canon at the fifth over a free bass, and the Scherzo is a standard binary dance following an aria ritornello shape. In particular, the Scherzo is written with orchestral textures in mind (something like a flute + strings). Is this what you actually hear?
  23. The thematic material has a resemblance to the "Star Wars" theme. I thought the music would be more strident and dissonant to bring out the werewolf metamorphosis. It's a bit "sweet - lyrical" ......
  24. It made me laugh for some reason at the beginning, it's certainly joyful though the digital interpretation feels too much brute perhaps. Seems like a prelude to me; there must be a continuation of this. I liked it!
  25. Charming and beautiful. Perhaps the motive at M.23-24 is a bit confusing since you introduced it there and nowhere else before but as it is done twice it doesn't sound bad at all. Changing it is up to you entirely, but if I were you I wouldn't touch that unless I came with something better to my mind. The piece begins calmly but it keeps building some momentum and oscillates between sections of calm and sections of passion, it is charming while not too ambitious, making it approachable even by non-skilled pianists in my opinion. The ending though feels kind of unsatisfying to me because of two reasons: the ritardando isn't played in the digital interpretation (and I believe the ritardando would sum 100 points to the ending section) and because a personal preference of mine which isn't actually relevant. But yeah, mostly the ritardando that isn't played. The score is very detailed (dynamics, tempo markings and comments) and it is always a pleasure to read while listening to the interpretation even if it's digital. However, I noticed that you didn't write 4/4 at the beginning of it. Just a small typo I guess, hehe. Thank you for sharing, I hope you keep composing and sharing your work in this forum. It has been a pleasure to take a brief look at it :). Kind regards!
  26. I am not sure if I'm the right man you should ask this haha. I'm accordionist, and I'm not very sure about my piano skills (possibly there are plenty of people here with proper piano skills). But I can try, why not, just no guarantees :P. Kind regards!
  27. I'm on VI-C as well. Good site. Recommended.
  28. I've been told this piece is light and airy; but doesn't really go anywhere. Which is fair! For me it's a joyful piece; but I'm interested to know what emotion it inspires for you?
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