All Activity

@Wieland Handke, thanks for your gracious words and the extensive review. Regarding the second theme in the Allegro, I have composed a version with a more independent bass line in m. 13, 15 and 19 (not 23); it hasn't the same drive as the quasi-Fauxbourdon, but it is something I will revisit as, yes, it is a bit repetitive. The score has to be reformatted for playing, no question about it. This is especially true for the Rondo which I produced rather quickly. Thanks for looking at the bass line in the Andante; I will have a look. While I am no productive Lilypond user anymore (which I am still fond of), I have indeed a separate file for audio output for all movements. As it was customary to ornament the repetitions, I added some plausible ornaments in the audio file for the minuet, and some other small modifications which an experienced cembalist would add.

Dear J. Lee Graham, I'm hoping to use this in a teen chamber music program I teach. If it gets performed, I'll let you know here.

A few parts recorded without pre-planning. Background is minor piano arpeggiated with Arpache SX. Recorded without planning. Majour foreground piano is hammered in without planning also. Piano is layered VSTi HALion. Keybed is ModX6.

I know this tempo is quite unplayable, but since the composition itself is fairly trivial and a bit silly, I felt that presenting it at an unnatural speed made it more entertaining to listen to

Thank you for your feedback , Henry Ng Tsz Kiu.

@Cafebabe Thanks, and I will give this a helpful review too. I mean to start you have nice, clear harmonies. It creates a pleasant feel, and I like how you chose a string quintet which can make timbre and rhythmic changes easier to navigate since you have another voice. You also have a consistent tone throughout. I think the biggest thing you could do differently to make it more pleasant/interesting would be giving more rhythmic variety. The dotted rhythm is almost entirely the same in the beginning, even across all the voices. In the fugue, the running 8ths have little room for “breath” in the melody, so adding variety would make it feel more natural. I think you had more sense of melody & variety from 28 to the end, so nice job there. Would you mind checking out my piece for feedback please?

Thank you! I'm using https://www.soundtrap.com to make the instrumental part.

Hello Everyone, Thank you for your support in my recent compositions, I really appreciate the great feedback I always get from y'all. Today I have a piece that I really needed to write for myself. I've recently been under a lot of stress, with demands and expectations of other people really weighing me down. The struggle to meet those expectations has hurt my self-esteem. This piece is simply an expression of that feeling, and ends with the hope that I will conquer it all.

@J. Lee Graham Thank you for your feedback! I've fixed your notes in my personal scores, incase I ever get this performed. @Henry Ng Tsz Kiu @Uhor Thank you both!

😁

Hi @Cafebabe! It's funny to listen to this with a fast tempo on a fortepiano, but I would say it's completely managable to play. I like the imitation between hands, and variations of rhythmic patterns. Thx for sharing. Henry

Yo Vince, I really love the sensitivity of the harmony in this one. I love the constant false relation of Eb and E in b.4 and subsequent bars. There's real pain in this one whether it's personal or worldwide issue, and it's painful to play as well. Thx for sharing and hopefully writing this helps. Henry

Thanks guys! Haha, but I can't really take too much credit tbh. It was fate that made this mashup, and I a mere agent to make it happen. Tbh I never got the Nickelback hate

This looks quite useful and interesting! I have to admit, I don't pay special emphasis on musical engraving at all because I never consider an essential part of composing at all. Henry

I also must admit that I’ve never read or heard about those two books. However, score engraving is an interesting topic for me and I take a lot of care to produce satisfying scores for my compositions. Therefore, that „debate“ should be something for me, too. The only „literature“ I’ve actually read about the art of music score engraving is the „Lilypond Essay“ which I’ve linked here. Even if I run the risk of @Henry Ng Tsz Kiu is thinking that I am a Lilypond lobbyist or salesman (😆, I must think on the „rodeo“ between Henry and @SeekJohn14v6 ...), I am just a Lilypond user, and I’m glad with this notation software for two reasons. First, the approach of writing „source code“ and „compiling“ it into a score and a MIDI-file is the right one for me, since in my everyday work I'm familiar with writing tons of lines of source code rather than using a WYSIWYG-interface. The other, and possibly more important fact is, that the resulting engravings are much more satisfying and similar to old-fashioned hand engravings than the most of the other notation software solutions are currently able to produce. So I had a small look again at the above cited „Lilypond Essay“ and, interestingly, the two books you mentioned can be found prominently in the „(Short) Literature List“. I looked around, if I could find some PDFs, excerpts etc. on the internet – and indeed I found some, so that I can take a view on that books to be able to participate in the „debate“ soon. Thanks for the suggestion!

Quite well, except for the speed. I don't understand why there is such a fondness for music at this unnatural speed. Of course, the virtual instrument does whatever you want it to do.

Hi Henry. The quotations are very subtle and fragmentary. E.g. These two quotes from the Domine Jesu. I was aiming for a deconstruction of the Requiem: so I only used a few fragments, rather than quoting long passages.

I think keeping it is ok, though not necessary because only the cello and later viola would need the accidentals!

Ohh haha the Paavola translators fail!

I love that my name "Pyry" has been translated in the message you quote to "Piria"😅😂. But yes! I just woke up but I might send you a private message soon regarding the techniques! I will be following your work very closely!!! You have earned yourself a fan -Pyry

Attached is a blog where I have published several essays. Some are related to music, and others may not be of interest to you: Multidimensional Transmission Matrix, Musical Anarchism, Musical Improvisation as a Semiotic Process: A Peircean Reading of American Ciphers, Some Resources Using Escriabin's Mystic Chord, Some Scribbles and Writings of Traditional and Modern Techniques for the Electric Bass, Short Analysis and Essay on Karlheinz Stokhausen's "Studie I", Johann Sebastian Bach and Transcendental Aesthetics, Three Movements of Musical Thought: Thesis, Antithesis, and Synthesis (Three Works, One Concert), Origins of Jazz in Argentina, A Brief Encounter Between Some Eastern Philosophies and Contemporary Music, Archetypal Improvisation: Musical Semiosis Based on Jung, Tarot, Peirce, and Synchronicity. ©Sebastián Ernesto Pafundo. All rights reserved. https://sebastianpafu.blogspot.com/2020/06/soundcloud.html

Hi Henry and thanks for the kind words! I definitely tried to get a lot from very little, I've been doing that a lot lately. I did also think about the key sig. change... Do you think I should keep it as is and why so? -P

Hello, thank you so much for taking the time to listen. What you say about the OCD disorder and the piece is spot on. The piece didn't take me long to compose; once I start, I have to finish. However, it did take me a bit longer to refine some extended bass clarinet techniques. I worked on it with the performer, of course, and he helped me tremendously in resolving some sonic issues, as he has a catalog of multiphonic sounds. The musicians are very good, and I was able to apply structured improvisation using American chord symbols. Thanks again, and feel free to ask anything you like. If it's within my reach, I'll gladly answer. Best regards!