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  2. https://www.soundtrap.com/signup?ref=cbdd33c8cf4fe46ba66b9a7c3f707461
  3. If you have a listen to some military bugle calls, you might get some ideas of phrases/motives you can use in your fanfare. How strict are you being with the natural trumpet type sound?
  4. Today
  5. I don't know, When I hear it, it just screams harmony, it needs a melody. To me, its just too boring. Maybe it could be a textbook example on advanced harmony(compared to what you learn in Music Theory 1)
  6. Hi Noah. I'm a newb here and thought I'd listen to some music! I like some of the chromatic scoops you include in the strings especially in your overture. They definitely add to the lighthearted feel of the composition. I like the horn intro too.
  7. Hi Massimo. I'm a newbie but I just listened to your piece on headphones and I must say you have a talent for beautiful but quite unusual harmonies. Also, is this finished or are you planning on adding more to this?
  8. I thought of it like an etudish piece (i mean it is chords and it is like a study). So what can you call it?
  9. I just listened on headphones and this piece is totally intense! I like the brassy intro that slowly builds and adds woodwinds and strings finally including the choir. Nice touch of flat5 near the end. I hope you have a good idea of how to finish this piece cause I can't wait to hear it!
  10. Yes, it makes sense. Thank you for the comment and the feedback. i used to compose pieces for piano solely, and i've been slowly trying to get better at orchestrating. So i've done a few small ensembles here and there.
  11. Hello. I'm a newb here and I'm not sure if anybody has said this about this specific piece or any of your music, but if you want to focus on longer compositions, write for smaller ensembles or for piano solo or piano with a solo instrument or two. Then if you really think the musical material justifies it you can orchestrate it later for a larger ensemble. I liked your symphony. It's wacky and unique. I'm not sure if in writing a symphony you intended to write something more epic and grand. For that you could write some well placed and orchestrated tutti sections. As it stands it's very linear and melodic but usually in a symphony there are also well placed accompanying harmonies to fill in the sound and make it sound more full. 1:41 in the woodwinds is a good example of that. I guess I just mean you could bring more meaning to your orchestration by having the melodic material require the orchestration to be more full sometimes and more sparse at other times. Same as you'd expect the melody to dictate when the instruments should play loud or soft I guess. I hope this post makes some sense...
  12. Hi there. I'm a total newbie to the website and I just listened to your piece on headphones. I must say that although mostly harmonic in nature there is definitely a melody leading this piece throughout. It sounds very passionate and the dynamic changes are very well placed. Despite the cello divisi it doesn't sound muddy at all!
  13. The Star Wars theme, I honestly don't know, maybe because it was the first theme to come to mind as a trumpet fanfare in Bb major? As for the US National Anthem, well the piece is based off of a picture of the Battle of Iwo Jima and the US did win that battle, plus the competition I am writing the piece for being in July and even having a due date of July 31st means a higher amount of exposure to the US National Anthem than during the rest of the year. Plus, I was thinking of contrasting the foreboding intensity of the G minor with a brighter sounding section in Bb major before going back to the intense G minor. Both the Star Wars theme and the US National Anthem have that brightness.
  14. Is there any reason you are attached to those two themes? You have some good motive forms established in the preceding phrases, why not develop those? For whatever reason, I hear the trumpets entering on a big Ebmaj7 chord after what you have here, but that's just me.
  15. I don't know if I would call this a piece. I think it is a really great chord progression
  16. Yesterday
  17. I have had a sort of absolute pitch, and lost it several times, but it was nothing but a reference in my mind, let's say I used to play in my head the beginning of Carmina Burana and always get a perfect D, using that D I could know what note I was hearing, years later I lost that reference, then I got a new one, playing in my head the beginning of Alpensinfonie and always get a perfect Bb, again, after the years I lost it. What I've always had is the relative pitch, that works very fine for me. Maybe if you wake up always with the same ringtone, you'll write that tone in your head 🙂
  18. I'm currently composing a march for an orchestra based off of a picture of the Battle of Iwo Jima and I'm kind of stuck at the trumpet fanfare that comes after the foreboding intensity of the previous brass chorale. There are 2 that are coming to mind and are in the key of Bb(which while not the key of the march as a whole, is the key of the trumpet fanfare) and I'm not sure I want to use either of them. The 2 that are coming to mind are the Star Wars theme and the US National Anthem. I thought maybe I could use just the first phrase of the melody of the US National Anthem and build the rest of the fanfare differently but even that is turning out too familiar, too predictable. So now I have no idea what to do. Do I just go ahead and use the melody of the first phrase of the US National Anthem overtly and just harmonize it differently, despite the fact that it will probably be super familiar to the majority of listeners(maybe with a textural creschendo and diminuendo within the phrase)? Do I start with the arpeggio and then write a completely different melody that is still in Bb major and still emphasizes long note values? Here is what I have so far of the piece:
  19. This would sound fantastic if played live. Perhaps you could look into Fauré if you want expand on this subject, you'll surely find plenty of inspiration on his works.
  20. Really good work, I really liked how you used the suspensions to create tension and release. This reminded me a lot of Nimrod from Enigma Variations. I wanted to ask technical question: I noticed m. 18-25 and m. 26-33 are almost identical, the only difference being the Seconds and the Violas delay all of their note changes by one beat. I was curious why you decided to do this? Was there a different contrapuntal effect you were using between the two statements? You have a lot of good independent lines between the different voices, but I noticed for the most part you left the bass to dotted half notes moving up a fourth or down a fifth. Was this your intention? I think giving the bass more melodic lines would add interest - a descending bass line is a good way to lead up to a climax. I enjoyed listening, thank you for sharing!
  21. Absolute pitch is linked to chromosome 8 (8q24.21). I don't think an adult can develop perfect pitch if he/she has not that mutation. Surely many people don't realize the have perfect pitch until they are adults. I am daltonic and I didn't realize until the age of 20.
  22. For perfect pitch you need to have standard tunning (A = 440). some orchestras are setting higher. How do the perfect pitches deal with this situation? lately it has 432 hertz popularity, Can those who have the perfect pitch listen to music other than their tunning?
  23. I remember reading somewhere Brahms had perfect pitch. I know Wagner, Ravel, Stravinsky and some others didnt have perfect pitch but I think the majority of big name composers definitely had it.
  24. Hi Not used to this kind of thing, but i thought id give it try STRING ADAGIO
  25. I have perfect pitch, and I kind of agree with Rick Beato's theory that it comes from listening to a lot of music from an early age. The earliest age I can remember listening to music was at about 4, and it was mostly Mozart, Bizet, Beethoven, Bach, and Tchaikovsky, though it's possible that I have been listening before then. I don't know if that's what Rick Beato would call "complex" music, though (definitely not compared to the chromatic improvisation guy he was showing), but I only started playing music when I was 8, so I guess by his standards it was somewhat late to discover this ability. So I'm not sure I can exactly vouch for very early music training as the cause for perfect pitch. I also remember playing Petzold's/Bach's Minuet in G on the piano before I knew how to read music, and I learned to play it by ear, and I'm guessing this was when I was about 6-7. At the time I didn't know that notes actually had names yet, so I guess I already had it by then. Out of curiosity, @SSC, would you mind giving some examples of the "majority" composers who didn't have perfect pitch? I know that supposedly Brahms didn't have it, but I'm interested if any other major composers apparently lacked it.
  26. No idea, here in Spain it is 4 years of Elementary, 6 years of Professional and 4 of Superior. Then you have Masters. I will do the tests in order to study the Superior of Composition.
  27. Is this your equivalent of high school to undergrad, undergrad to grad, or precollege prep (like CEGEP in Quebec) to undergrad?
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