Jump to content

All Activity

This stream auto-updates     

  1. Today
  2. Thanks, punintentional! I don't mind a strong dissonance. That's always the sort of thing I enjoy when I'm performing a piece. I love it when you have a certain expectation and then the floor drops unexpectedly. That particular spot definitely sounds better when played by me (at snail speed, because I'm a sad piano player) than it does when played by my computer software. I don't have a nice sound package. I take your point about the rhythm. I would never have done that normally, but I just sang Randall Thompson's "Psalm 23," which does something similar, and the result is just hypnotic played by a living hand.
  3. Thanks, Monarcheon. I'll take another look and keep that in mind for the future.
  4. That's why I'm asking for input. I'm not a pianist. I have no idea what idiomatic is to a pianist. Teach me of your mysterious ways, piano players of YC. 🙂 . Thanks for your suggestion! "The dishwasher in the ensemble." 😄 Dishwasher the machine, making a pleasant, rhythmic background noise? Or dishwasher the person who washes dishes, the least glamorous, but necessary, job in the restaurant kitchen? I was actually thinking strings would be nice for the sound I wanted here too, but I don't think I'm at a stage where the kind of choral groups who hire out chamber players for their concerts are going to be interested in my work, unfortunately. Choral singers are almost never paid, instrumentalists hired for choral concerts almost always are, so a cappella or chorus plus piano or the occasional solo trumpet is the default for the vast majority of singing groups. Church groups sometimes splash out for some strings at Christmas, but that means you need to write something Christmas themed to capture that market. Was there a particular note or two that makes people scratch their heads you were referring to? Choral parts or piano part?
  5. Thank you for the in-depth analysis; you have given me a lot to think about. I appreciate that!
  6. Well, this is really nice, all around. About the piano part. It's not particularly idiomatic, is it? I mean mostly it's metronomic, sort of like the dishwasher in the ensemble. Maybe you could give this accompaniment a little more thought in terms of varying the repeated notes into lines with simple leading tones on the weak beats? If you were to orchestrate this, I could hear a slower tempo with a small string ensemble playing sostenuto chords. As timekeepers they would have more expression than a piano, and it would seem appropriate. But I really like the basic chord progression throughout. Maybe you could explain why you chose to leave in the one or two notes that might cause your audience to scratch their heads. Is it really worth it?
  7. 1) This is a good start. It's DYING for more counterpoint, 2)Man, PLEASE fix those double flats in your score. I would be SO MAD as a performer :)
  8. I want to first say "bravo" to this piece. With that being said, I shall give my critical analysis. 1) Typesetting: Your score is BEAUTIFUL. Generally, style and bowings are italicized i.e arco and pizz. It does seem a little weird not seeing that way. Reference: look at the scores of Beethoven and Mozart. It's ALWAYS that way. 2)Measure 15. Hmmm, I wonder what would happen if you had the violas play the D3 and B3; instead of the divisi in the 1st Violins, you have the 1st play the high octave and the 2nds play the lower octave. 3)Measure 69 - 90: I STRONGLY disagree with that orchestration. There's no reason for the 2nds to play higher than the 1st,. That divisi in the violas is going to get lost. I know you want that C3 to pop but it may be better to have that in the violoncellos. Then have the whole viola section play that. You are going to have balance issues with a live orchestra with that. Reference: Daphnis et Chloe. 4) measure 91) Violins like fifths better fourths. I get WHY you wrote it that way. It MAY be better to split that like this: violin 1 (Bb3 and F4) and violin 2 (Ab3 & Eb4). 5) Your sound space is gorgeous. It's obvious you have a command over the textures and melodic density. It seems though that the textures can be expanded more. If rhetoric is defined as "the art of effective or persuasive speaking or writing, esp. the use of figures of speech and other compositional techniques," then I believe these melodic statements are under-developed. Measure 29 comes to soon. This opening fugue-like material at the beginning can be developed probably another 2 minutes. It's so tight melodically, Meas. 29 is too abrupt. Honestly I feel this way about a lot of sections in hear. This piece if developed more could be a 15 minute epic! My $0.02
  9. I think you have established a nice melody, and I like the concept of symphonic studies. What might be an interesting exercise is, rather than writing in repeat bars, write out the supposed repeated section and see what you can do to vary it. Given the length of the piece, it wouldn't have to be much, but it can help you out of your comfort zone a little bit, if that is something on which you feel you can improve. Nice work!
  10. Yesterday
  11. Nice thoughts on it, @punintentional. One small nitpick. Sometimes your suspensions fall on weak beats, which used to be straight up wrong in the Renaissance era, but now, while it is fine, still carries some weird tonal qualities when prolonging the dominant or the tonic (i.e. 73).
  12. For the most part, I thought it was a good composition. They were a few small moments where I thought the harmony felt a bit off. For example, in bar 44 the C# sounded like a wrong note; C# against D is a very strong dissonance - especially when compared to the harmony in the rest of the piece. I also think it would be nice to vary the crochet rhythm in the accompaniment as after a while I think it gets a little tiring. Even just changing it to minim, crochet, crochet like you have in bar 61.
  13. I felt that these pieces were very expressive and I enjoyed the textures you present. Moreover, I felt that you did well to maintain an organic progression of material. I also felt that your harmonic vocabulary is intriguing and colorful. Ultimately, I think this is an effective piece. Nice work!
  14. I thought this was a good foray into writing a concerto -- I will say that I found it to resemble Bach's Siciliano movement (BWV 1053, ii) a bit too much. I think that it can be beneficial to have models like this, though only as a starting place (for instance, as a basis for the form of your piece). With that said, I think that you manage the textures quite well and that you do a fair job organizing your material. I would not necessarily say that it is short, though, I would avoid thinking of composition in this way. I feel that what's more effective is thinking about how well you explored the areas created by what material you have presented. For instance, asking yourself questions like, "Have I developed my motifs/melodies/textures in a way that is satisfactory?" or, "Am I pleased with how I crafted my music?" Questions like these can help you stay grounded and oriented when writing; either way, it is always safe to say that you have to start somewhere in order to get to where you want. Good job!
  15. I found the narrative of this piece to be very natural, and the transitions between sections was well-conceived. I also enjoyed your orchestration, particularly in the harp's section. You did well at shifting momentum and textures throughout the work, as well. Good job!
  16. I enjoyed it. Good job getting a recording as well!
  17. Not really. As Schoenberg says, they aren't even strict rules, but some guidelines that can be used to create certain effects. I don't think so, I can hear certain progressions in many works of the classical repertoire. And chords are definitely used by every composer that I know. Would you please post it here too?
  18. Last week
  19. Hi, i want to share our competition with you. It´s my first posting so please help me if i did something wrong 🙂 Write the Super hit! Inspire the audience with your music and win prize money totaling 11.000€ with your composition – take part in the Progressive Classical Music Award 2019! Compose new music for two violins that goes under the skin and sweeps audiences off their feet. There is no limit to your imagination. Using virtuosity or simply great emotionality– always remember that the audience has to be touched or carried away! The style does not matter. Playing technique should be challenging, unconventional, with new effects, nice melodies, extreme sounds or hot rhythms – let your imagination run wild! Orchestration: 2 violins. Form: about 5 minute music. Info: The work has to be composed for this competition. Adaption or arrangements are not permitted. Multiple submissions are allowed. Closing date for entries: 5. July 2019, 23:59 CET Finale with LiveStream: September 28, 2019, 20:00 CET, Reiss-Engelhorn-Museen D5, 68159 Mannheim UNESCO City of Music, Germany Prizes 1. Prize: 5.000€, sponsored by Spiegel Institut Mannheim 2. Prize: 3.000€, attribution pending 3. Prize: 1.000€, sponsored by Ingenieurbüro Bräuer + Späh 4. Prize: 800€, sponsored by Dr. Hans-Oskar Koch 5. Prize: 600€, sponsored by GMS CNC-Technik 6. Prize: 600€, sponsored by GMS CNC-Technik Additionally, the prizewinner works will be recorded by The Twiolins and added to their concert repertoire. Course After a thorough examination by the jury, six works will be selected from all submissions. These will be premiered in the prize winner concert by The Twiolins. Following the concert, the audience will vote on the awards. Additionally the prizewinner works will be recorded professionally on a CD. For details see terms and conditions. Registration Please read the terms and conditions. Please use the registration form to submit your composition. FAQ & more information Please visit the website at https://www.pcm-award.com/en/award-2019/announcement-2019/
  20. Hi @edfgi234 1st music: wonderful melodies, i think u can seperate some of them and by looping to create a music or a song for example 0:29 to 0:33 could be a x4 loop, and a refrain of 0:38 (lets say as idea 😉 ) to 0:48 as i see it fits well. You music is very rich and you can easilly play with ideas or let it as it is, is great as well! 2nd music: Relaxing and somehow mysterius piece, it could be in games in "home" levels or forest levels as well. --Just my minimal thoughts-- even with piano as solo it sounds great to me! 3rd music: Its a "Hard to make" piece with personallity work -adventure backround i think- copuld be easilly fit to a wonderfull video or movie as well. 4th music: 0.44 length Advertisments on products sounds amazing this piece. (My opinion 🙂 ) 5th music: Advertisments as well. -and not only! (New Car Model for example -any brand 😎) 6th music: A Cool Artistic audio/ melodic backround! Yes i think backround music for short movie/clip or any other movie 🙂 Great works!
  21. I don't really see harmonic theory as explanatory. To me, it's just a set of labels to apply to different chords in the music. The thing is, a lot of harmonies don't get labeled by it. They're discarded as passing chords and the like. And then, after these harmonies are passed over by the theorist--and only then--he can claim that the progression follows certain rules. These rules have been recorded in a kind of flow chart for the composer to follow. But there is almost no composer who has ever followed these flow charts except if you arbitrarily cut out segments of their music. I've actually seen an ascending minor scale in which every note appeared get labeled as a V. There is a V in there somewhere. And then it was followed, some time later, by a scale degree I in the analysis. This is where the guidelines fall apart. If you can say that a V-I occurred by virtue of cutting some notes out, you can just as easily cut out a different set of notes and say that a progression from something else to I occurred. Of course, it has a great deal to do with how prominently featured the V notes were. They might have occurred on strong beats, for example, with non-V notes occurring on weak beats. That doesn't mean the other notes weren't there, though. And what is more, these other notes have an impact on the musical progression as surely as anything else. They might feature a later repeated motif, or, in light of them, the composer might wish to choose a different harmony to follow the "V" than he otherwise would have done.
  22. I don't think so, would you please give some examples of harmonies that you think it can't explain?
  23. 3-voice canon #14: https://soundcloud.com/user-321964225/14th-3-voice-canon
  24. Because the music of Mario Golf has inspired me so much, I decided I wanted to go back to the source and remix it. This music was written using Musescore 3 as well as the GeneralUser GS v1.471 and Compifont soundfonts. I also drew the background. Original: https://www.youtube.com/watch?v=NfpbRx0Zh8k
  25. 3-voice canon number 13: https://soundcloud.com/user-321964225/13th-3-voice-canon
  26. My 12th 3-voice canon: I tried applying some strict guidelines to the melodies, and I think it mostly worked. Any shortcomings in them are mainly due to the tight restrictions on motion that occurs when writing a three-voice canon.
  27. My arrangement of the traditional Irish tune. Hope you like it!
  1. Load more activity
  • Create New...