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  2. Sojar Voglar
    Most of my music from 1995 to 1996 in worthless, I had very limited skills in motivic development, harmony progression and formal approach. So therefore I consider my studies at the Academy to fully improve all these skills, plus knowledge of all instruments, orchestration, contrasts, fresh expansions of tonal colour and timbres. You don't seem to show any interest in developing yourself into a more wider and skilled composer. These "Sententiae" are always, always the same. For decades. Just notes, no dynamic marks, no articulation, no formal development, nothing attractive for performers. But I guess I am consistently hiting a brick wall by talking about your opus.
  3. Sojar Voglar
    As composers, we never really know why we compose. If we knew it , we might never have become composers. I DO know why I became composer. It is the passion and the will to speak positively to your audiences and, if necessary, criticize the negativity or simply enjoy the widest range of possibilities of art. It is also about exploring and sharing your talents with everybody. The Bible also says the talents should never be burried. And you should always try to improve your skills and explore the little explored and be open-minded.
  4. Today
  5. luderart
    Let me revive this old and interesting thread I had started many years ago, and also take this opportunity to encourage newer members to add their own compositional wisdom in the form of maxims, as well as discuss each other’s maxims. Here is a new maxim that I thought of a few hours ago today: As composers, we never really know why we compose. If we knew it , we might never have become composers.
  6. luderart
    No composer composes thinking their music is worthless! They all do so thinking that they have something valuable to say. That includes you and me. Of course I appreciate the music of all the masters that you mentioned, and also that of Bach and Handel, Haydn, Schubert, Cherubini, Brahms, Khachaturian, and many others (including living composers). But all those composers do not negate me as a composer; or comparison with them does not devalue me as a composer. They do not replace me or make me irrelevant, redundant or useless. They are not me! So however great and genius their music is, it can never fully express my mind, my thoughts and my feelings. I compose what I am inspired to compose and what I have to express inside myself. I do not have to imitate them or to devalue myself just because they were and are great! And I evolve as a composer at my own pace, even though you might not notice it, just as they did at their own pace.
  7. Henry Ng Tsz Kiu started following Persichetti Exercise 7 - 49 for Piano
  8. Sojar Voglar
    A professional composer should be opened to various styles and genres. Although I am primarly a contemporary classical music composer I also write popular pieces, simple music for church services, also jazz. But I always try to maintain high professional standards, even in simple works.
  9. Sojar Voglar
    During my studies I sometimes did the sketches but with the experience comes the inner ear skill. Today I can hear the orchestra before I even write notes down. I guess I would be able to be deaf like Beethoven and compose further, trusting my inner ear.
  10. Sojar Voglar
    And what makes your music so good compared to masters such as Mozart, Beethoven, Mahler, Prokofiev, Shostakovich, or so many great living composers? You must imagine that you are the best there is, the best there was and the best there ever will be...
  11. PeterthePapercomPoser started following Night Stalkers , Persichetti Exercise 7 - 49 for Piano , March - the first movement of the Spring Trilogy for cello and string orchestra and 1 other
  12. PeterthePapercomPoser
    I have moved on to Chapter 7 of Persichetti's "20th Century Harmony" which covers polychords. The prompt for the piece was "4. Extend the polychordal passage for piano:" Thanks for listening and I'd appreciate any of your comments!
  13. AngelCityOutlaw
    Hell yeah brother
  14. therealAJGS
    How about we just ban AI and trust that people are honest, and if people find out that it's AI, they get temporarily banned. This way, people will be afraid to post AI content and not post any.
  15. Yesterday
  16. Henry Ng Tsz Kiu started following Tango for double bass and piano
  17. Henry Ng Tsz Kiu
    Thx for your comment. Yeah I know maybe it’s too long for the contemporary environment now, but who cares. I just wrote what the music needed. And I know G flat Major is a hard key to play on strings, it’s a good way to let the piece sound less bright to express Tao.
  18. luderart
    'Good' and 'popular' are not necessarily the same. Besides, I believe that the evaluation of music is a largely subjective matter. So, people's opinions of music differ. And that is natural. What you might not like, there are others who like. You have no right to impose your opinion as objective truth as far as music is concerned.
  19. Sojar Voglar
    And I believe I am not the only one, who doesn't think you are a good composer. Your youtube videos (uploaded several years ago) don't even reach 100 views.
  20. Sojar Voglar
    Plenty of mixed feelings about this one. Sure, you can write for strings (although G flat major is a terrible key for strings) but the work does not progress anywhere for a pretty long time. No modulations (barely any chromatic), similar character. This is more like a minimalism style, akin to early Glass or some less expansive John Adams. The transition at 5:35 is refreshing. I am pretty impressed with final movement, it is a piece within a piece. There are some nice and memorable moments but the overall form is probably too large for what it offers. Still, I admire your bravery to compose such a long string sextet.
  21. Sojar Voglar
    It sounds simple but I can hardly imagine a perfect live performance. Sounds a bit like Webern though.
  22. Sojar Voglar
    Of course not. What new I could have said to your repetitive sketches?
  23. luderart
    Welcome back Sojar! I must say that your reviews haven't changed at all too. Nothing constructive, all negative and judgemental....
  24. Martin Kristek
    Thanks for the kind words, Sojar :). So, truth be told, I wasn't aiming to be humorous when I was composing it. I just found the meowing sounds fun to work with. I am glad it worked out this way though.
  25. Sojar Voglar
    This is the first movement of my Spring Trilogy (March, April and May) from a full album by here presented cellist Bernardo Brizani, who selected four composers to create a full twelve-month cycle of seasons. The score already has all three movements but the recordings are presented on separate videos. This movement begins with slow, murkly chords in strings while cello shows a contrasting, arabesque-like energy. The middle part of the movement is a bit more agile and brighter in sound, while the ending returns to the initial mood. The music has neoromantic features but I do believe it is mostly in my own idiom.
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  26. Sojar Voglar
    Since your pieces differ a lot from one to another I do believe you are searching for a personal musical language, which is always a good thing. It seems you prefer long, slowpaced layers in strings with some arabesque like moments in winds and percussion.
  27. Sojar Voglar
    If this piece is intentionally hilarious, then job well done. I had an amusing time with this.😁 And the music itself fits perfectly.
  28. Sojar Voglar
    It is always strange to listen to microtonal music as it sounds out of tune rather than a coherent musical language. And it is used within the traditional d minor with more or less classical melodic and polyphonic technique which is certainly unique. To some extent it reminds me of the third string quartet by Aulis Sallinen.
  29. Aiwendil
    I don't think we should be Draconian about policing this. I think the policy should be no posting music composed by AI, but I really think it would be a mistake to start policing and interrogating every post and assuming it's AI until proven otherwise. If there are indications that a piece might be AI (e.g. no score provided, telltale signs of Sonus, posted by someone with no prior history on the forum, etc.), then it makes sense to inquire further into it. But demanding proof of authorship from every composition would be a drastic overreaction to an issue that has, as far as I'm aware, only actually cropped up once here so far. I'm against AI compositions on the forum, but I'd rather waste my time once or twice giving useless feedback on an AI composition than chase real people who are posting real compositions off the site.
  30. Sojar Voglar
    There is only one thing to say. It is still the same Luderart, no development, no improved skills, nothing new in all these years. You must have a really boring life...
  31. TristanTheTristan
    That's right, but they sometimes 'malfunction'. We should use 3 regulation stuff: 1. Detector 2. Info on the music 3. WIP
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