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  2. So I'm not sure how to feel about this piece. It's not really bad– everything is cohesive enough. Maybe I'm not used to writing in stasis anymore.
  3. Today
  4. This thread is to help generate discussion and 're-introduction' of the community. So, I've been a part of YC for a long time (and just returned from a hiatus). I'd love to learn more about the current users. So.... let's get introduced!
  5. Yesterday
  6. Although this is true, I don't think it is particularly necessary in this particular piece. I like the harmonic vocabulary used in here and I think that the piece is quite well-balanced. As for the interplay between the lines, I do think it could use some work. I find that from letter N on, it gets a bit tiring. It feels like the piece is going to end at letter M, but it breaks that feel and keeps going, which I found quite jarring. I found this piece very nice-sounding. Great job. Cheers!
  7. It's sounding very cool. I'd remove the double bass and cello lines in the first two measures, just to make it a bit lighter in the start. Of course, it's just my opinion. Besides that, it's a nice start.
  8. I just started this piece for orchestra. I really like it so far, but I don't know what to add for melody after what I have, any suggestions? (After the music stops that all I have.)
  9. Hey it's quite nice indeed. I would like for a bit more variation on the piano part. Also, some of the notes sound very high for the cello, and if they are playable, they will not sound like this. It's better to put them on the violin(s).
  10. Exactly, I always over-orchestrate. This seems to be the problem that permeate all my pieces. Oh well, one day I'll learn how to deal with this.
  11. This is veery nice! Great job, I love your harmonic voccabulary on this one! Especially in your pieces, I always lack a live performance. The midi does absolutely no justice to your compositions! I would have enjoyed a cadential point that's a bit more discrete in M. 35, but besides that everything feels just in place!
  12. I disagree, I think it works nicely. If performed, I think the listener will percieve the first idea as an intro, and will then see it as a first section of the piece, once it reapears in the end. This creates ambiguity, which is always great. I agree with this. Perhaps you could orchestrate it a little bit lighter, so that you have some headroom to expand in the last section. I really like the sonority you achieved in this. I want to see where it goes. Kind regards, Jean.
  13. Of course, it's a draft. But good and promising. Besides, your work encourages me to write using this languages, which I love... But being so unpopular, I haven't lately worked on them very much.
  14. Dont get me started on the score. Never... ever... ever... use Flat! Lesson learned here. I am planning on anchoring the introductory material. It does seem disjunct from the rest of the exposition. I've got a few ideas for this. The piano entrance is an homage to Mozart (my favorite composer). His concerti used the same method several times. The hairpin crescendos were added as I didn't know how to add cresc or dim using flat. My score sketches dont have the hairpins, so I had to make do to input it onto the notation software. I'm glad you like this so far! 😄
  15. Wow, it's difficult to follow the score, split in two pages. I've listened to this 4 times. I like atonal music, and all its derivative systems. It's challenging to build a coherent work with this language. I think the introductory part is good, but it's not connected to what comes next. I don't know if you have the idea of linking it in some way. It's nice you establish an anchor with the three note motive (ascending and descending). Atonality needs this alternative methods to be coherent and not arbitrary. The entrance of the piano is quite good, I like its part. I assume the midi sounds are not the best. but it's enough to get the idea. One issue I would try to work more is dynamics. Those very long crescendos (endless hairpins) make not much sense.
  16. Impressive to say the least. Guess I have a new rock genre to discover
  17. Hi Luis. It sounds great! It's a good little piece that evokes a Christmassy mood. I think the changes of time are good for giving the piece a bit of variety. I like the harmonic language throughout. Sometimes there is a bit too much chromaticism for my personal taste, but I can see that it is skillfully put together and I know it is your style. I think this piece would sound better performed live, where there is greater freedom in the performance. The suspended end sounds a bit abrupt in this audio, and I think the variety of touch and tone the pianist has would help this. Great work!
  18. Thank you Ben! I used Berlin Woodwinds and Berlin strings. Solo violin from cinestrings solo. Cineharp. I used eq, a little bit of compression and tape saturation and a vinyl emulator to make the sound more "vintage". And reverb of course.
  19. @KJthesleepdeprived Thanks for your words. I'm glad you like it.
  20. @celloman99 I'm glad you like it :) I've been checking the piece for reviews every weekend the past month XD Yes, you're right, these slurs might actually be too long. I'll reconstract it. Thanks for the review!
  21. Updated it. Turns out it's being used as fighting music so I acted accordingly. How's it sound?
  22. I may expand the opening and use that material in more depth (as well as expand it to be more naturally unfolding). Good point on the hexachord combinatoriality. The bassoon/cello line that leads into the piano restating the main theme is an area where I look at exploring this in the development.
  23. The idea of it is pretty cool. I like how the beginning comes back near the end of the exposition, but it seems a little heavy handed at the beginning in order to achieve that effect. What might be cool moving forward is preserving hexachordal combinatoriality with the start of that figure horizontally and vertically, since you seem to already want to do that in places like mm. 21-23. Finding a way to invert that combinatorial figure vertically would give you a lot more early-position row forming down the line that all sounds similar.
  24. 1. This sounds pretty cool and I love it. 2. Your score confused the heck out of me and I can only assume the fault lies with FLAT. You're performing admirably under duress.
  25. Hey my friend, One thing to consider is marking slurs on the cello part. I don't know if you are aware that generally, string players use slur markings to know how many notes to play with one bow. This can affect everything from volume to tone color, so for places like measure 9, think about a cellist playing that and whether or not you want them doing all four notes in one bow or doing maybe two to a bow for better sound. If you have thought of this and have marked accordingly, it's fine. I wanted to let you know just in case though. I was writing the above comment when the "He-Ya!" started; that scared me! Lol Very cool though. Also, the 5/8 bars are cool. Overall, I think this piece is really interesting and would be great fun to hear live. It's very imaginative, and I was looking forward to what came next the entire time. Great job!
  26. This is so beautiful! It's a little too hard for me to play (those runs) but I think I'll probably mess around with it and see how much of it I can learn. I think it's lovely that you're writing something original for Christmas! Your 'harmonic imagination' is splendid and full of the unexpected. I just love hearing anything you write Luis! That little bit at measures 8-11 and each place it repeats! That right there was my favorite little moment. That alone is enough for me to want to learn this! What a fun little piece! I'm gushing, I want to play this with my own fingers so badly!
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