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  2. I've been mulling over a new project, but am too busy to do much with it. It occurs to me that time spent on shaping thematic material is well worth the time. Major limitations with my compositions has to do with themes/lack of variety. So, I thought I'd throw this out there now. It is more adventurous with progression than my first efforts, while still solidly early romantic in style. In fact, I had to laugh it sounds so much like Mendelssohn, my favorite composer. What can I expect after hundreds of hours of listening? Clearly a hymn like quality. I'm excited about the prospects of adding a string trio and developing it further.... Anyhow, this is the main theme for a likely ABA andante for Piano Quartet. It is not intended as a demonstration or pianistic virtuosity, but just a laying down of progression and thematic elements. The simplicity, as all theme and variations composers know, allows for gradual heightening of tension and drama in subsequent iterations. BTW, the grand piano on Garritan sounds darned good to me. Messing around with pedal effect...
  3. Today
  4. New organ scores thanks for listening
  5. Hey @hw1234, There's nothing I can add to Peter's great review and advice! Henry (not myself) you should always try to develop your motives, instead of writing short ones and never develop them! I see in your last post when you build up a good exposition. Why don't you try to develop that movement to become a sonata proper! You have so many good ideas, as @PeterthePapercomPoser listed here in these two short excerpts there are many, but you usually just ignore their potential. It's like you take all the food in the buffet but never eat them. For me, even if it sounds harsh, is a waste of materials! You definitely have the ability to utilize them! You can try to make love with your material and find out what can become of them! Also you should really read books on music theory if you don't. There are many useful guidelines and examples for you to learn and folloe. It's not like we have to follow every melodic and harmonic rules in the book, but by knowing them you will know how to write with or against them, instead of writing with no starting point. This will make you compose more effectively! I say this because I know you love composing. But composing do needs some kind of craft. Even Cage's 4'33 is a product of thinking, concept and craft. After all composing is a kind of expressing your own emotions and thoughts. You won't want your thoughts to be incoherent excerpts only, right? I really hope you can try more like the Mmsymphony 1!! You don't have to be afraid of faults when writing longer ones since we all have faults, and having those faults we become better composers! Hope to see your more developed works here, Henry! Henry
  6. Hi @HoYin Cheung, Let me vow out in Cantonese first: 我中意呢首二重奏! I love the middle section more since there's more polyrhythm in it, and with a slower tempo it's sweeter and memorable for me. I just find the transition in b.75-82 a little bit deliberate, maybe since it's the first time the rhythm dies down and modulate. In other places the flow is fluidic and there's some moment when the harmony is oblique I will say, a Bartok like feature! Maybe love for yoi is a process🤔? In b.79 and 81 the redundant naturals can be deleted! Thanks for sharing and hope to see more of your posts here! Henry
  7. This reminds me of what happened with the opera Norma by Bellini... and Wagner. Bellini was often accused of using a weak orchestration. Wagner admired Bellini's skills to write long and twisting melodies (and took it as an influence for his concept of endless melody). Wagner re-orchestrated the whole opera (he even wrote an additional aria). Imagine the density of Wagner in Bellini.... Wagner himself said it had no sense because Bellini's orchestration was the best to enhance the vocal parts, which was the most important for Bellini. Wagner's version is there as a curiosity, but it's never on stage.
  8. Why is the first violin written smaller? The piece, in this style and with two instruments, is mainly a counterpoint piece. I think it is very well developed, in the second part I hear more dissonances that, as a contemporary piece, are well introduced and justified, bringing color to the work. The only thing I miss is some ind of big climax. Very good work.
  9. Thanks for replying lots of improving to be done
  10. Yes, but sometimes I like to go for something more "direct". In the first piece for example, I wanted to express something nostalgic by using the 9th in the melody with minor chords.
  11. Hi Apart from the sound, which is not the best, what I find good here is there's plenty of material, perhaps too many ideas for this piece. So, I think spending little time on organizing the piece would improve the result. It's not easy, many times we want to be quick...
  12. This is great and could be used (not mandatory) of course for regular comments on compositions. Outside of the contests, it can even be evaluated qualitatively such as "what I like the most", "I like the least", etc...
  13. Hey all, I have recently wrote a piece for my first girlfriend, whom is a pianist. Luckily she likes it lol. The motivation of writing a duet is that I am practising a list of duets with her, and I really look forward to make more duet for ourselves in the future. Writing tonal melody for solo violin has been hard for me as highly efficient harmonic and melodic structure is expected, but a duet has eased the task a bit haha. Hope you enjoy it. HoYin
  14. I find these pieces both rhythmically simpler than some of your usual works for keyboard. I think that in this case, that makes them more accessible and lucid. I love the ending in the 2nd piece - giving the listener a hint of the theme they heard in the beginning as a kind of final echo. It almost fools the listener into thinking that they're going to get a recapitulation of the A section again but it does sound quite final. The clusters in the 1st piece add a nice dissonant color to the melody. Great job and thanks for sharing!
  15. This sounds fun! And I immediately was inspired by one of the tracks when I checked them out, so I'm in for sure!
  16. The organ piece is nice. But you have these very short motivic ideas/cells that make it hard to build anything substantial out of. With the kind of motives you use you'd be better off trying to write little inventions with them. That would entail using the motives more contrapuntally and getting rid of all the block chords. And the block chords in this organ piece also have scarcely any musical meaning in your piece. They don't build tension or serve any kind of formal purpose to lead into the next section or anything. If it were my piece I would take the following ideas: and and develop them contrapuntally in a more Baroque style. The rest of the material seems like it's just filler. The movements in your symphony are all really short. The first movement is dying for some kind of secondary dominant, augumented 6th chord, or modal exchange to spice up the completely Bb major material. The third movement is perhaps my favorite here. In measure 51 you have a cross-relation between the Flutes C# and the French Horns concert C natural. Also, in measure 54 beat 3 - those chromatic notes don't really make any melodic or harmonic sense to me. They might have made sense if leading to a D (as part of a A7 chord - a secondary dominant of V) but that's not what happens. The last movement is a bombastic fanfare-like finale that overbearingly emphasizes the Bb - F alternating 4th. Usually 4ths can be used quite copiously in classical symphony finales. But here you use that 4th exclusively as the main motivic idea of the whole movement which is kinda monotonous. Hopefully this isn't too harsh - I like that you're trying to put out more substantial works by grouping movements together though. Thanks for sharing.
  17. In my opinion, the arrangement of string is faulty and I definitely won’t keep it for the full orchestration, but I appreciate that you love it. I might remove the intro section or rewrite it entirely. The only reason I included it was for symmetry. Ooo, that’s a very nice idea. Thanks for the suggestion. I think that a real performance would balance this better, but I’ll make dynamics more precise just in case. I’ve already said this in another reply, but it was supposed to be abrupt, but I will try to prepare it better. Also, thanks for the tempo note. No need to apologise! It’s very true. I think varying the orchestration and accompaniment would fix it. Thanks for the compliments of the programmatic writing. This (2nd mov) is one of the better movements in my opinion. At the time I was scared to write something contrapuntal for too long because I didn’t think myself competent, but I will definitely extend it now that I am more confident in myself. That’s a fun coincidence lol. Thank you. I’m very excited to orchestrate this part! I appreciate it and I agree that this is one of the better movements. Ok. I will see what I can do. The biblical story doesn’t really specify if anything else happened during the 3 days. Also, I think I should also make more clear what the 3 marches are. The first march starts at m. 47 the second at m. 122 and the third at m. 211. Ok. I’ll prepare it better. I honestly didn’t even realise it was abrupt. Thank you! I think it does too. Yeah. I think I should do it more often. I wrote that first for piano. I think I was 13 at the time, but I’m very happy with the melody. I think that making the repeats vary more will definitely help, thanks for your suggestions. Thanks. I’m very happy with the programmatic writing of this movement (5). I will be sure to transition those prts better. Thanks. To me, I think the counterpoint is not great, hence me calling it mediocre. I really appreciate that you thought the end hymn beautiful. I’m emotional when I listen to it myself and it makes me very proud of myself. And I agree, the transition to it is poorly done. I think I could do better now though. I’m glad that you think the themes are memorable! Just a careless mistake. Thanks for catching that. I agree. I think the briefness is refreshing. I’m pretty happy with the effect the timpani gave. Ok, I’ll fill those out more. Thanks for the suggestion. I’m glad you noticed the motif and that you enjoyed it. That is the greatest compliment I have ever received, and from the bottom of my heart I thank you. My wish as a composer is that someone in the world would enjoy my music the same way I enjoy the music I listen to. Also, I agree about the slurs. Thanks for the suggestion. Thank you so much for taking the time to review my music! I mean, you spent about 7 days doing that and I really appreciate it. 😊
  18. Yesterday
  19. Hi @Urlicht88, I am no timpanist myself, but will the mufflers for the timpanist minimize the oooling sound? P.S. I love your name so much! Urlicht as in Mahler the Second! Also you should change the topic name as well since your title does not indicate the question you ask! Henry
  20. I think that was the right move and I think the piece works best as a whole and not any one specific movement. I agree. I tried breaking up the constant slowness with faster sections, but especially with the first and fourth movement, I didn’t do enough. I agree. I tried breaking up the constant slowness with faster sections, but especially with the first and fourth movement, I didn’t do enough. Yes lol. I really appreciate your reluctance to impede on my creativity in exactly how things should be orchestrated. I agree and I will definitely consider your suggestions. I do not agree with this one, but I will definitely take advantage more of the instruments different techniques. There is even a spot where I think col legno would work well, but we’ll see what I do. I really appreciate your respect for my intent and vision, thank you. I am very proud of the end, despite the block chords. The part in movement 4 was not something I expected someone to particularly enjoy. I find it interesting that that stood out to you. I’ve been told by a friend that it reminded them alot the seven last words from the cross by max millan, which I find pretty interesting because I only heard that by the time I was on the seventh movement, so movement 7 was definitely inspired by it, yet not the movement that probably sounds the most like it. But yeah, I think it’s very still and I think textures will help with it. What I might do is alternate between the strings and winds with that part. Might sound pretty cool. I personally like reserved percussion, bit I will definitely experiment and explore the percussion section more. I don’t think you were too critical at all, and I would have appreciated any criticism whether I accepted it or not, so definitely don’t be afraid to be critical and harsh with me. Thank you for taking the time to review my music. You have my gratitude. 😊
  21. This is a question for the Timpanists: is there a way to have a note ( beat in your case) sound dry without the "booooiiiing" after sound? I noticed that even if our timpanist ( school orchestra) stops the sound with his hand, the "oooiing" descending sound is still there... any ideas ?
  22. I lie the piece, although the modulation is weird. The change to F min is disconnected but it sounds nice, but the transition back to G# - C#m is weird (second part of m. 8).
  23. https://drive.google.com/file/d/1R_wv9xtzyBvTiVEPTKoagbvHPR6UT9cY/view The score is just above! Regarding the tone, this was kind of by design. For me, the piece is very cold, 'naked' as Thatguy put it, so for me, the tone worked, it was created with the Kemper Profiling Amp, and all gain was rolled off, meaning that the amp had no natural breakup. As this can't be done with a valve/tube amp, I get how it might sound unnatural to some listeners, but considering that I was aiming for the kind of modern, neo-soul style popularised by such guitarists as Ichika Nito, I'm quite happy. Funnily enough, the original premiere of this piece was done with a more traditional setup, so you might have enjoyed that performance. Any guitarist is free to interpret this work as they can, and if a guitarist played this on a Marshall or Vox that nearly broke up on each forte+ dynamic, that might be really, really effective, and that's for them to choose. In my opinion, that's why the electric guitar is such a valuable and under-utilised instrument in contemporary classical, the interpretation of a piece can come down to the very tone of the instrument, rather than just the way tone is achieved through playing. As for the use of the seventh string, this piece was, as mentioned, originally premiered in a concert hall in Cyprus, and it was played by another player who used a 6 string guitar with 22 frets. I, myself, always prefer seven and eight strings, I'm endorsed by Aristides, and that, in the video, is my custom-built guitar, so it felt natural to use it. Certain pieces I've made (which I'll definitely share here once they're recorded/performed) do use the seventh string (particularly orchestral works), but as my research is based around the creation of future contemporary classical repertoire for electric guitarists, I always know that if I write a piece for seven-string guitar, it alienates players who don't own one. I will also say as a little aside, the tapping is essential, if a guitarist played the notes fretted, they'd be playing the piece incorrectly. Idiomatic electric guitar writing music include both hands, and there's a specific chapter in my research that goes into ambidextrous guitar playing, that is, using all eight fingers on the fretboard! Thanks for the great feedback, guys, looking forward to spending more time around here!
  24. Hi @lordDave, I myself think this music more as representing a struggle or confusion instead of plot twist! I quite like the build up with strings alone, but I am not quite a fan of having the piano playing the same melody with the violin and later with cello adding the bass with same melody, since it will make the harmony less rich, unless you want a heterophonic texture which I think doesn't fit here. You can probably add countermelody to the melody, have voice exchange between the piano and violin to vary the timbre more! Thanks for sharing! Henry
  25. Hi! Here is a piece I wrote for some kinda plot twist in a movie . I decided not to have an "Explosive" moment, wich is commen when you have a twist in movies. Instead I decided to just let the music slowly build. I only used free Vst-plugins (BBC Orchstra, Sine factory, Spitfire Labs, Neo Piano and The free Orchestra from Kontakt) The Daw I used is Lmms, wich is not really good but it`s simple enough that even I can understand it and it´s also free. The key of the Theme is A-minor (Although it might have a Key change in it, I can`t remembder and honestly, I don`t have time to check) I hope you enjoy.
  26. HI! (I apologies for my bad english btw) First of all, I love the Pan of the instruments in the first half. It gives it a better rythem. I can definetly imgain this playing in a game like god of war and overall I really liked it. But i think that the precussions from 2:14 onwards are a bit out of place. I also agree that the ending is to aprupt. You should let it pan out a bit more. Thank you for sharing this piece! Dave.
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