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  2. Yea, thats what I meant, I wasn't using any brain cells...
  3. Hi there! Welcome to the forum! Interesting use of background nature sounds, sets a unique ambiance. Also you captured the piano sound pretty well - I assume it's electronic and not acoustic? A really nice track - I'd love to hear more of the album! Gustav
  4. Today
  5. @i(don't)suckatcomposing When a non-chord tone resolves downwards: It is a suspension if it starts in a weak position. It is an appoggiatura if it starts in a strong position (usually the appoggiatura is unprepared, by leap). See the example (the other are different types of non-chord tones).
  6. What you described for ritardation is correct. When the Non-chord tone resolves down, it is called a suspension(Edit: assuming its holding over from the previous chord, I probably look dumb now....). This is an appoggiatura: http://openmusictheory.com/embellishingTones.html
  7. Sorry this work was here for some weeks. The "architecture" of the piece is good. Also its parts of tension and relaxation. Perhaps you rely too much in the same motive, another one is seen for just a moment, I would let it flow more time. You may go over some instruments. Clarinets, Horns, and Sax(es?) have more voices than instruments.
  8. The second is a mistake of scoring 😂😂 thanks for explaining It better than i could
  9. It's like a jingle. So short.... I've listened to dozens of versions of Happy Birthday. Yours is surprising.
  10. @Lotsy piano @Guillem82 That is called ritardation (when the non-chord tone resolves upwards) or appoggiatura (when it resolves downwards). I think you can write A# - B in the context of C maj (for example with a G or G7). In m. 62 there is a false appoggiatura because the A# is, in fact a Bb, part of C7, and it would be odd an appoggiatura resolving an augmented second.
  11. Thanks! That accidental had a expecific name, I don't remember now (this mind-games), and Indeed he uses more this. The part that I think actually fits more Mozart-style is the closure of the second theme, but alberti-bass, accidentals, and others are actually very recognisable in Mozart. Thanks a lot for the comment
  12. A very short simplified stride piano arrangement of Happy Birthday song, inspired by stride pianist Fats Waller: I'm planning to revise this in the future, because at the moment I don't feel completely satisfied with it, especially not with the ending. Originally I had a little extra right hand melody at the very end, but I didn't like that either, so I just left it like this for now. Any feedback is welcome! Thank you for help! Have a happy weekend Everybody!
  13. As an organist, I don't know much about Mozart and I seriously lack of classical-classical experiences (I mean for ex. not classical-baroque, and not classical-romantic, but classical-classical), but from the Mozart pieces I've heard through my life, your piece has some really Mozart-y sounding parts for sure. Particularly my favorite parts are which I think they sound the most Mozart-y, around 0:03 "Di - Re" ("C# - D" in your piece's key), and around 0:09 the "Ri - Mi" ("D# - E" in your piece). I think this type of half-step (most of the time from bottom to the top(?) I mean stepping up a half-step we could call it one of Mozart's signature pitch-writing. As a mini-tip: I think you can do this half-step-up-melody-trick on almost any note, except "Li - Ti" ("A# - B" in C major key), because "A#" or "Bb" however we call it at the place of the context in C major key most likely it would sound like the "Fa" note of F major key, it would sound like the "Tay" note of C dominant chord, and "Fa usually want's to go a half-step down, instead of down, at least in the case of a C dominant 7 chord, if you would play for ex. a C dominant 7 chord and then a G or a G dominant 7 chord to force the A# go half step up to B, then I think it would not sound right in a classical-classical context, it would sound almost like a certain part of a blues chord progression especially if we would chose to use only dominant 7 chords. Probably I wrote this explanation unneseseraliy complicated and too long, sorry about that 🙂 It's not that important, but in an easier way I could say that my tip is that I think you can do these half-step-Mozart-y-pitch-writing: C# - D D# - E E -F (probably even F - F#) F# -G G# - A (but CAN'T do A# - B) B - C too I guess I can't explain well why I think this, this is just my intuition, probably I'm wrong somewhere, others might tell us where. Another little thing is that I think the Alberti-bass was a good choice to start with, I think Mozart liked to use it a lot! As I wrote earlier I don't know much about Mozart, but these are the things that I've noticed immediately even by not knowing Mozart too much so you made even me recognize the essence of Mozart in your piece, so I think you are on the right track!
  14. Hi Jean, Thanks for you comments! By reduce ambience you mean reducing the reverbs? Cheers!
  15. It would be helpful is to know what examples he used to back up his argument. But to me, music that is tightly coupled to a text effectively becomes a song, in that the same rules apply, as your prof points out. Faster tempi more so than slow. Emily Dickinson more than e. e. cummings or prose poets. Poetry is a vast area. I wrote some music for a Langston Hughes poem and the treatment did follow the strong and weak beats. If you want to go against this, you would need a good reason.
  16. Yesterday
  17. Awesome music!! Eventhought Jazz is not my favorite, you made me love this!
  18. A little jazz piece... Hope you like it. (Trumpet in concert pitch).
  19. I like this piece very much. It keeps my interest all the time. Beautiful melodic lines and counterpoint. Most of all, the changing rhythms in both hands are wonderful, and the 3 against 2 in some moments. I feel it as a "rhapsodic" nocturne.
  20. I bring you the Sonatina I'm preparing to make an ode to Mozart. He died 5th-6th of december. At the moment I only have the first movement, and is not very worked since I only worked on it an afternoon, but here it is:
  21. @panta rei Thank you very much for your kind comment, I really appreciate your encouraging words! I can't remember any (specifically)piano etudes that uses this same pattern, because I'm not a pianist, but I'm an organist, and in my school organists had to learn some (usually easier-intermediate level) piano pieces and I remember playing patterns like this one in some mandatory piano piece which I forgot the title, but I think it was Haydn, which was a little bit surprising to me, because at that time I considered this pattern as a typical baroque pattern, and I actually almost never learned any classical piece on the organ (I mean classical classical if you know what I mean :), not classical baroque, but classical classical), my only classical piece was a 4-handed 4-feet organ arrangement of some less known classical composer whose name I forgot by now, but as an organist I can say that this pattern in organ music (at least baroque) is very common, probably most common in preludiums or toccatas especially when the composer want his piece sound flashy. Even earlier baroque like Buxtehude pieces has this pattern many times (not as a whole etude piece, but maybe just a short part of a toccata or something like that), so I thought I will try to make my first etude with this kind of "standard" pattern, because I wanted to keep things simple for the first try. I think it's a good idea that you and J.Santos (an now me too :)) write etude with the same pattern, because this makes it a little bit easier to analyze our pieces (if we want to analyze them), because we don't really have to analyze anything about the pattern itself, so this way it becomes easier to learn from eachother's pieces which is always useful I think. I'm looking forward to listen to both of your etudes, I'm sure they will be great! I checked your musics too, and I think I can definitely can learn a lot of tips/tricks from them! Happy composing and happy weekend! :)
  22. Yea that might be a little too ominous, depends on what kind of garden this is. I like the fact that it has this melodic fragment in the middle, you might want to develop it a little further? Maybe on a lower register? Overall it sounds good, could fit a video game, depends on the situation.
  23. Thank you! @Jean Szulc yeah we often like the cinematic sound 'cause it's so fat, wide ande hyped but it's not always the appropriate aesthetic. @Luis Hernández I was not perfectly satisfied with the vibrato so I hope to improve that in the future. Regarding reverb, did you think of the solo violin or the section?
  24. Wow, it is a very cool piece! I really like the style of your compositions. K.R. Alex
  25. Impressive. I think this piece tales the late roma ntic Sporting and gores further. Loving velocity. The progresión is fine, for me. It is a catchy académico piece, I could sing it to myself after one only listening. Keep it up.
  26. Great job!! but tbh I don't like the étude, since I actually hate a lot the main section's progression (personal tastes), I do really hate it, sorry. For the other sections I like them. Keep doing your best!
  27. Last week
  28. Thank you, the full version of this song is set to release on Dec 30, 2019, titled "Formless". https://distrokid.com/hyperfollow/silverwolf/formless
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