All Activity

I still need more ideas for my third sonata. Anyways, @churchcantor did you listen to them yet? (Like the full thing). I can wait though. Don't disappear.

Thanks!

I'm glad you enjoyed it my friend and I love your humour 🙂

Hey, you know that Ravel once said to Gershwin when Gershwin tried to study composition with Ravel... Gershwin: Yo bro, you seem cool, can I study composition with you? Ravel: Nah... Gershwin: Why not? Ravel: I don't want to teach-... I meant why become an awful Ravel when you could become a perfect Gershwin? Gershwin: %$!@?٪35@DF3#^... Gershwin died of a heart attack. No. Just kidding! But you get the point. And yes, I did enjoy The music.

FWIW, here is one of my own comments I just found and remembered from another piece of mine: Sin boldly is the ancient maxim. If you are going to break that "classical" rule of no parallel fifths, do it deliberately, and do not write them in pure counterpoint! I don't mind first position Rock or Folk chords in the guitar when it is merely accompanying, replete with parallel fifths on the bottom; people are used to that sonority, but when I write a fugue or real counterpoint, of course I avoid them. HOW does your music SOUND?

Didn't listen to it, just glanced over the score! It's really good, just not in a music mood right now. If I listen to anything today, probably something like the Grateful Dead or the Doobie Brothers! I'll get to it eventually; I LOVE clarinet, like C.M.V. Weber! Well, not totally true; I might listen to some of my own stuff yet again. Not "musical masturbation;" I just do it to see if there is anything I might need to change, minor edits.

Wow, there are some really colorful moments here! I love 4:00 - 5:00, it's like you treat the orchestra as a percussion instrument 🙂 Very very cool! Love the big unanticipated chord at 8:30 too. Aw, lame, but I get it. I've been there, we are our own worst critics. I would have submitted anyway, it is quite good to me. Your score looks great too. I think the big changes you would want to do are better left alone, as you've done. Save those ideas for the next one. You can sit there and tinker with orchestra pieces forever, no shame in letting it be as is. Watch your levels in the mix, you have a few spots where I hear distortion, but that's an easy fix. Around the 9 min mark is an example. I think it's brass? Lovely piece, thanks for sharing! I've heard your music a few times now, I dig your style.

Just a quick update ... Met with my mentor ... improved counterpoint (one measure had parallel 4ths in the sopranos/altos for example) ... improved voicing/harmony in last 2 measures ... and reworked the piano line .... One has to be patient! Mark Will post again when the work is finished!

By the way, here is an example of what classical guitar can be, if one wishes to be so complicated! Villa-lobos was quite the virtuoso on the thing...I have no desire to be so complicated!

Thatguy, some things I won't take your advice on: of course I will correct impossible chords, but fingerings and hand positions essential? Not standard in historical classical guitar music. The dropping of the pedal A because I wanted to; just contrapuntal reasons. I'll see when I feel like editing, which is not now! 😆

1. A minor. Again, just like the string quartet one, this one is very Mozart. I find a great use of grace notes (acciaturas) here. In the opening, you have the two hands play parallel, just like in Chopin's Scherzo No.3 . I see that after that, you had an immediate F Major Part. And then my favourite part is the syncopation with grace notes part. I think that this contains a lot of great ideas. 2. A major. The transition makes a lot of sense. e, f sharp, e part at the start is great, and very Mozart-like. The double-thirds runs seem fun to play! The left hand parts are very good. I think it is wrong at bar 44 to be in minor key, as that you haven't notated a natural sign. Overall, very good use of the second voice. 3. F major. Really waltzy. Bar 50 has a sharped C, which is a very smart choice. D minor is also a brilliant transition. I like the way it is intense from bar 56, and how it is in A minor, and transitions back to F major at bar 60. It feels magical in a way. Very great. 4. C# Major. Nice Introduction here. A major is something I like personally. The transitions are incredibly nice. It is smart to go back to the original key. Nice piece. Not done yet.

You are welcome!

Thank you once again for your time on the second minuet. I’ll agree with you about the fz markings, but because of NotePerformer I sometimes have to change things and use different dynamics in order to get something closer to the result I’d like. Sometimes I might add accents that don’t sound the way I want, which is why I chose fz. I want something like fz there, but not as strong as the program makes it sound. In any case, critique is always welcome, especially for pieces like this where I myself don’t yet feel very ready—it was a very timid attempt, to be honest. Still, I think it was respectable, and I’m also glad that it left such a positive impression both on you and on others. Thanks again.

EVERYONE! THE HIDDEN CONTENT IS HI!

Done!

It is quite good!

Some modern creators

Nothing was posted here recently... I feel happy while composing. It is my only place to just 'throw in' all of my emotions.

You are welcome! As I said, I will come back to this later. (;

I actually quite like the strength of the motif for this minute and a half. It just really makes me want a B section. Often times in the renaissance, when there was a crazy polyphonic repetitions like this, they would do 1 of 3 things. Either have another polyphonic section in a different mode, have a more declamatory section of text, which would often be in a "double choir" setting which was back and forth between two homophonic sections, or an outright homophonic section. I think each of these would work really well. Heres an example of Lotti moving from a incredible thick reptitive canon-like polyphonity into a triple-ish choir: https://youtu.be/OZ9dXLmRlpo?si=LaAY263rsR4sFO6x And Gesualdo into a more homophonic style: https://youtu.be/TBC-45-FfVQ?si=Kmqmee2Ldr9aPlYU&t=131 And most was just more polyphony.

Thank you so much for your wonderful words and for your attention to my composition. My love for Mozart and my musical instinct helped bring about a decent and good result. Once again, thank you.

Minuet 1 I find this piece of music very appealing to my ears, especially the part from bar 4 to bar 7. It is very smart of you to write that area. I am completely impressed by this amazing composition, though I believe you should write subito to these bars as well. I really like that it is Allegro but feels like Allegretto, which is slightly slower. I see that you might have taken inspiration from Mozart's Rondo Alla Turca from his 11th Sonata. This because from bar 15-17 you have that thing for the Violencello. All of the four instruments work well together, which is another area of this composition that is impressive. You also have a very original idea. Lastly, you have a clear idea of the main theme, which is a rare talent found in few people. Minuet 2 Another very Mozart-like minuet. I can clearly hear the main theme in C major. I see you really sudden notes, which are marked fz. Again, your Violoncello is doing an important job. I really like the small A minor bit, with the subito thing. This time Allegro is actually Allegro (lol). I think that Ternary Form does in fact fit in well! Sadly, I feel like that there are too many sudden notes. I am afraid of getting a heart attack from this. Otherwise, it is very good, and I believe you have a lot of talent, potential, and hard work when it comes to composing. As I said, before, I am incredibly impressed.

Hello again. I had posted my minuets for string quartet in another topic, and after a suggestion from peterpapercomposer, I’m now creating a separate topic just for them. As I mentioned in a previous topic, I am mainly a composer for piano, but I equally love orchestral music and chamber music. Chamber music in particular is my favorite genre. It’s just that, as a pianist, I had never really sat down to work with other instruments, since in the past I never had ambitions to become a composer. The desire to compose came about two years ago. I’ve made two attempts writing for other instruments, and I can say it’s quite a good effort. For now, I don’t have a cleaner score. I’ll post the video now, and at some point I’ll edit it and add a clearer score. Thank you again. Edit: I forgot to mention that both of them are once again in a classical, Mozart-like style.